ANGELICA  KAUFFMANN 


ANGELICA  KAUFFMANN, 
In  the  dress  of  her  own  Canton.    Painted  by  herself. 

Frontispiece.  [Vide  page  150. 


ANGELICA  KAUFFiMANN 

A  BIOGRAPHY 


BV 

FRANCES  A.  GERARD 


• 

A   NEW  EDITION 


NEW  YORK 
MACMILLAN  AND  CO. 

1893 


THE  GZTTYICENTER 

LmkRY 


PREFACE  TO  SECOND  EDITION. 


I  TAKE  this  opportunity  to  thank  all  those 
who  responded  to  the  request  made  by  me 
in  the  Athencemn  and  Notes  and  Queries, 
for  further  information  about  Angelica 
Kauffmann's  pictures  and  house  decora- 
tions. The  result  has  been  so  much  fresh 
matter  as  to  necessitate  a  Supplementary 
Catalogue. 

The  new  edition  has  had  the  great  advan- 
tage of  being  revised  by  an  experienced 
friend,  to  whom  I  am  deeply  indebted,  as 
I  am  also  to  Mr.  William  Rossetti,  who, 
with  great  kindness,  has  given  me  some 
valuable  advice  about  the  chapter  of  Critical 
Notices. 

Much  interest  attaches  to  the  quotations 
from  the  MS.  Memoir  lent  by  Mr.  Hendriks, 


vi  Preface  to  Second  Edition. 

in  the  handwriting  oi  Zucchi,  Angelica's 
husband.^  There  is  every  reason  to  suppose 
it  is  the  one  alluded  to  in  Goethe's  letter  to 
Angelica,  which  will  be  found  on  page  304. 

I  received  considerable  help  from  Mr. 
William  Bowles,  Mr.  Charles  Goldie,  the 
Honourable  Gerald  Ponsonby,  and  Miss 
Wright,  to  whom  I  offer  my  best  thanks. 

I  cannot  conclude  without  assuring  those 
friendly  readers  of  my  book,  who  wrote  to 
me  encouraging  letters,  and  sent  me  useful 
hints  and  remarks,  that  I  appreciate  most 
fully  their  kindness. 

Frances  Gerard. 

February  y  1893. 

^  A  cardinars  seal  being  attached  to  the  manuscript 
was  a  puzzle  to  Mr.  Hendriks ;  but  Cardinal  Quirini 
being  a  relative  of  Zucchi,  may  account  for  its  appearance, 
as  it  may  have  been  in  the  Cardinal's  possession  at  some 
period.  The  "Memoir''  came  to  England  in  1858,  and 
was  sold  with  the  other  papers  belonging  to  Angelica. 


PREFACE. 


Any  one  who  can  look  back  some  twenty 
years  will  remember  how  much  interest  was 
excited  by  the  appearance  of  a  story  in 
Cornhill  Magazine,  called  Miss  Angel/* 
which,  written  as  it  was  by  a  young  authoress, 
taught  the  English  public  something  of  the 
successes  and  the  misfortunes  of  a  pretty 
German  artist,  to  whom  our  great  Sir 
Joshua  Reynolds  went  on  his  knees  at 
Ranelagh — and  whose  name  was  Angelica 
Kauffmann. 

Charming  as  it  is,  however,  Miss 
Thackeray's  story  was  a  novel.  It  began, 
a^  all  novels  should,  with  the  heroine  at 
the  age  of  eighteen,  and  ended  in  the  legi- 
timate manner  with  the  heroine^s  marriage. 
A  biography  goes  somewhat  deeper ;  it  is,  or 


Preface. 


ought  to  be,  the  true  record  of  a  life,  and  it 
has  to  take  up  the  two  ends  of  the  long 
thread — the  beginning,  when  *'all  the 
world  is  young,  the  trees  are  green,  and  the 
birds  sing  for  ever ;  "  and  the  reverse  side, 
when  the  world  grows  very,  very  old,  the 
trees  very  brown — and  the  birds  sing  no 
more  for  us.  It  comes  to  this  with  all  lives, 
only  there  is  a  difference.  Some  have  a 
flood  of  sunshine,  others  a  dull  monotony 
more  terrible  and  harder  to  bear  than  even 
worse  misfortunes. 

Angelica  had  plenty  of  sunshine.  She  said 
in  her  old  age  she  had  one  consolation  :  she 
lived  in  the  past !  ''A  tinted  life,"  some 
one  called  hers,  so  varied  by  joy  and  sorrow, 
success  and  failure,  a  life  full  of  interest. 
She  comes  before  us  through  a  mist  of  tender 
memories.  A  sweet  artistic  woman,  made 
doubly  interesting  by  her  sad  story  of 
betrayal,  by  her  beauty  and  her  grace,  and  by 
a  sympathetic  attraction  which  won  all  hearts 
in  her  lifetime,  and  which  sheds  a  certain 
tenderness  over  her  when  dead — and  yet  with 
all  her  charm,  her  undoubted  gifts,  Angelica 


Preface. 

has  not  quite  kept  her  place  as  an  artist.  It 
may  be  that  she  was  too  much  extolled  by  a 
former  generation,  and  by  the  present  is 
unfairly  judged,  in  fact  almost  forgotten. 
In  England  especially,  where  she  spent 
the  flower  of  her  youth,  and  where  she 
was  the  pet  of  the  aristocracy,  and  the 
fashion  of  the  hour,  we  look  in  vain  for 
traces  of  her  life  :  those  who  may  wish 
to  know  more  concerning  her  than  what 
is  contained  in  Miss  Thackeray's  story,  must 
seek  for  it  from  foreign  sources  ;  the  English 
notices  would  not  fill  a  small  magazine  article. 
Half  a  page  in  Sir  Joshua  Reynolds's  life  by 
Leslie,  three  or  four  allusions  in  Smith's 
**Life  of  Nollekens,"  a  stray  mention  here 
and  there,  is  all  we  can  glean  concerning  a 
woman  who  was  at  one  time  in  the  first  rank 
of  artists.  Even  HoraceWalpole,  who  expends 
all  the  encomiums  of  the  English  language 
in  praise  of  Lady  Diana  Beauclerk's  Gypsies 
and  Mrs.  Damer's  busts,  has  hardly  one  wor  v 
to  say  of  Angelica,  although  she  was  an  R.A. 
and  he  was  an  art  critic.  But  if  there  is  a 
paucity  of  information  concerning  the  artist 


X 


Preface. 


on  this  side  of  the  channel,  the  libraries 
abroad  teem  with  notices,  memoirs  and  ana. 
The  Germans  have  written  copiously  on  their 
gifted  countrywoman,  not  altogether  in  her 
praise.     Sternberg,  whose  pen   is  always 
dipped  in  the  bitterest  ink  of  criticism,  has 
little  to  say  for  her,  her  principal  ground  of 
offence,  in  his  eyes,  being  her  adoption  of 
England,  which  country  he  holds  in  contempt. 
Oppermann,  Weissely,  Wurzbach,  Gering, 
Nagler,     Bernsdorfif,     Sturz,     Guhl,  have 
exhaustive   notices   and   memories   of  the 
artist.    The  French,  too,  are  not  behindhand 
either  in  fiction  or  biography.  Leon  de  Wailly's 
novel  is  well  known  abroad.    The  Biog^^a- 
phie  Noitvelle,  Biographie  des  ContemporainSy 
Biographie    Universelle,   the    Manuel  des 
Curieux  et  des  Beaux  ArtSy  Leblanc,  Beraldi, 
etc.,  have  extensive  notices.    In  Italian  there 
is  Rossi's  life,  which  has    been  translated 
into  German  by  Alois  Weinhart,  who  in  his 
preface  says,    he  can  vouch  for  the  truth  of 
all  contained  in  this  volume,  as  he  was  not  only 
a  near  relative,  being  the  artist's  first  cousin 
by  marriage  and  brother-in-law  to  Johann 


Preface. 


xi 


Kauffmann,  who  resided  in  her  house  and 
managed  her  affairs  for  twenty-two  years, 
but  also  because  all  her  papers  and  those 
of  her  father,  Joseph  Kauffmann,  came  into 
his  hands. 

It  is  from  these  different  sources  that  the 
present  biography  has  been  compiled,  and  it 
is  hoped  that  the  fact  of  its  being  the  first 
life  of  the  artist  written  in  English  (together 
with  the  great  interest  of  the  subject)  may 
incline  the  reader  to  overlook  the  short- 
comings which  must  manifestly  find  place  in 
a  work  of  this  kind  undertaken  by  an  in- 
experienced writer. 

There  is  a  want  in  both  Rossi's  biography 
and  Weinhart's  translation,  which,  to  a  certain 
extent,  has  been  supplied  in  this.^  They  are 
both  destitute  of  correspondence.  Without 
letters  the  story  of  a  life  cannot  be  told  satis- 
factorily :  they  make,  in  fact,  the  backbone 
of  biography.  As  Angelica  corresponded 
with  some  of  the  most  interesting  persons  of 

^  It  is  interesting  to  know  that  the  late  Prince  Consort 
had  some  letters  and  MSS.  concerning  Angelica.  These 
were  given  to  Miss  Thackeray  (now  Mrs.  Richmond 
Ritchie),  who  kindly  lent  them  to  the  writer. 


xii 


Preface. 


her  time,  her  letters  would  be  of  great  value. 
Unfortunately  before  her  death  she  burned 
a  great  portion  of  them. 

For  assistance  in  procuring  letters  and  in- 
formation most  grateful  thanks  are  offered, 
especially  to  Professor  Gebhardt,  Director  of 
the  King  s  Library,  Berlin  ;  Mrs.  Thackeray 
Ritchie;  Mr.  W.  M.  Rossetti ;  Mr.  C.  S. 
Hopwood,  Foreign  Office ;  Messrs.  Sotheby 
and  Co.  ;  Messrs.  Duprez  and  Gutekunst ; 
Mr.  Alfred  Morrison ;  Mr.  Bernton  Benja- 
min ;  Mr.  Algernon  Graves ;  Mr.  Harvey  ; 
Mr.  R.  F.  Sketchley  ;  Mr.  Thomas  Arm- 
strong ;  and  Mr.  Sidney  Colvin. 


CONTENTS. 


PAGB 

Introduction     ....  .      .  xvii 

CHAPTER  I. 
Childhood  and  Girlhood        .      .      .      .  i 

CHAPTER  II. 
Girlhood  40 

CHAPTER  III. 
Girlhood  and  Womanhood      .      .      .  .S3 

CHAPTER  IV. 
Marriage  78 

CHAPTER  V. 
Womanhood  107 

CHAPTER  VI. 
Womanhood  136 

CHAPTER  VII. 
Womanhood  162 

CHAPTER  VIII. 
Middle  Age  181 

CHAPTER  IX. 
Middle  Age  201 


xiv  Contents. 

CHAPTER  X.  PA^jB 
Middle  Age  260 

CHAPTER  XI. 
Last  Years  275 

CHAPTER  XII, 
Last  Years        .      .       .       .       ,       .       .  303 


Critical  Notices  335 


Catalogue  of  Pictures     .       .      ,       .      .  363 

Subjects  of  Pictures  whose  Owners  are  un- 
known TO  Compiler  385 

Etchings  by  Angelica  Kauffmann  .       .       ,  388 

Pictures  and  Designs  engraved  by  Bartolozzi.  391 

Illustrations  and  Frontispieces  by  Bartolozzi 
FROM  Angelica's  Design     ....  395 

Drawings  in  Pencil,  Chalk,  and  Indian  Ink, 

BY  Angelica  Kauffmann    ....  396 

Drawings    to    be    seen    in   the  Exhibition 

GallerYj  British  Museum  .       .       .       .  398 

In  the  Fine  Arts  Gallery,  New  Bond  Street  .  398 

Guide  to  the  Houses  Decorated  by  Angelica 

Kauffmann  .      ^  399 

Supplement  to  Appendix  :  Catalogue  of  ad- 
ditional Pictures,  painted  by  Angelica 
Kauffmann,  R.A  432 

Index  449 


LIST  OF  ILLUSTRATIONS. 


V  PAGE 

Angelica   Kauffmann,  in   the   dress  of  her  own 

Canton.    Painted  by  herself  .       .  Frontispiece 

Portrait  of  Angelica  Kauffmann.    After  the  painting 

by  Sir  Joshua  Reynolds  44 

Sir   Joshua  Reynolds.    From   a  portrait  in  the 

possession  of  the  Earl  of  Morley     .       .  .126 

Dolly  Monroe.  From  a  sketch  by  the  late  Henry 
Doyle,  C.B.,  Director  of  the  National  Gallery, 
Dublin^  from  the  painting  by  Angelica  Kauff- 
mann   .       .       .       .       .       .       .  .142 


INTRODUCTION. 


Before  entering  on  the  biography,  it  may 
be  useful  to  take  a  glance  at  the  condition 
in  which  art  found  itself  in  the  first  portion 
of  the  eighteenth  century*.-  It  has  a  very 
distinct  bearing  upon  the  life  itself,  and 
although  to  many  it  will  be  an  oft-told  tale, 
to  others,  not  so  well  instructed  in  the  history 
of  the  past  century,  it  may  come  in  the  light 
of  a  new  and  interesting  revelation. 

Oppermann,  who  has  written  a  volume 
upon  the  decay  of  art,  says  that  in  Germany, 
Iteily,  the  Netherlands  and  France,  although 
there  was  a  multitude  of  schools,  a  plethora 
of  artists,  there  was  no  master.  There  was 
no  inspiration  to  be  found  in  Nature  or  in 
Love — there  was  no  strength  with  which  to 
represent  a  delicious  world  of  imagination, 
passion,  or  heroism — in  one  word,  genius, 
without  which  the  hand  of  the  painter  is 

a 


xviii 


Introduction. 


paralyzed — genius,  the  wonderful  creative 
gift — was  deady 

Meanwhile,  students  of  all  kinds  filled  the 
schools,  and  pictures  without  end  flooded  the 
market,  but  with  very  few  exceptions  the 
names  of  the  artists  have  fallen  into  a  well- 
deserved  oblivion.  They  were,  for  the  greater 
part,  copyists  of  the  most  servile  description, 
but  for  this  pernicious  and  fatal  habit — fatal 
alike  in  literature  as  in  art — they  were  not 
altogether  to  blame.  It  was  not,  indeed,  so 
much  the  fault  of  either  the  school  or  the 
student  that  copying  became  such  an  integral 
portion  of  art  in  the  last  century  ;  it  was 
attributable  in  a  great  measure  to  the  taste 
which  had  grown  up  for  overlaying  a  picture 
with  details  conceived  in  the  highest  style  of 
finish. 

The  Netherlands  was  the  head  centre  of 
this  species  of  genre"  painting  in  which 
genius  was  replaced  by  a  perfection  of 
execution  not  to  be  surpassed.  One  must 
study  the  works  produced  in  this  period  to 
be  able  to  judge  of  the  low  condition  and 
poverty  of  invention  into  which  art  had  sunk. 


Introduction. 


xix 


In  the  schools  each  student  followed  the 
style  of  such  and  such  a  master  :  they  copied 
the  colouring,  the  arrangement  of  light  and 
shade  ;  their  ambition  went  no  further  than 
to  produce  a  faithful  copy,  and  so  far  they 
succeeded  perfectly. 

Raphaels,  Correggios,  Rembrandts,  said 
to  be  originals,  filled  the  shops,  and  the  work 
was  so  excellent,  the  imitation  so  perfect, 
as  'often  to  mislead  the  best  critics,  and  it 
is  in  this  way,  Oppermann  says,  that  the 
number  of  replicas  of  the  same  picture  can  be 
explained,  each  of  which  is  supposed  to  be 
by  an  Old  Master/^  but  not  one  of  which 
was  ever  touched  by  his  brush. 

It  is  easy  to  understand  how  such  a  pro- 
cess of  imitation,  however  faithfully  executed, 
extinguished  every  germ,  if  such  existed,  of 
natural  genius,  and  so  cramped  and  fettered 
the  imagination  of  the  student,  that  he  soon 
became  a  characterless,  insipid  copyist,  who 
had  no  right  to  the  name  of  artist,  and,  in 
fact,  approached  the  level  of  a  clever  photo- 
grapher of  our  own  day. 

Sir  Joshua  Reynolds,  in  his  lecture  to  the 


XX 


Introduction. 


students,  condemns  most  emphatically  this 
pernicious  habit.  I  consider/'  he  says, 
'^copying  a  delusive  kind  of  industry,  the 
student  satisfies  himself  with  the  appearance 
of  doing  something,  he  falls  into  the  danger- 
ous habit  of  imitating  without  selecting,  and 
labouring  without  a  determinate  object.  He 
sleeps  over  his  work,  those  powers  of  inven- 
tion and  disposition,  which  ought  particularly 
to  be  called  out  and  put  into  action,  lie  torpid 
and  lose  their  energy  for  want  of  exercise. 
The  man  of  true  genius,  instead  of  spending 
hours,  as  many  artists  do  while  they  are  in 
Rome,  in  measuring  statues  and  copying 
pictures,  soon  begins  to  think  for  himself  and 
endeavours  to  do  something  like  what  he  sees/' 
It  cannot  be  denied,  however,  that  the  luxu- 
rious and  effeminate  tastes  of  the  eighteenth 
century  had  its  share  in  this  lowering  of  the 
true  standard  of  art :  a  love  had  grown  up  for 
decoration,  conceived,  it  must  be  owned,  in 
an  artistic  spirit,  but  still  not  belonging  to  the 
region  of  art.  One  could  hardly  imagine  a 
Titian  or  Paul  Veronese  expending  his  genius 
on  adorning  a  king's  palace  with  painted 


Introduction. 


xxi 


ceilings  and  elegant  panellings.  Still  this 
new  method  of  ^'prostituting  a  divine  mis^ 
tress''  soon  grew  in  favour. 

Lebrun  and  his  pupil  Laguerre  led  the 
way  ;  and  later,  Watteau  and  Boucher  fol- 
lowed in  their  footsteps :  their  work  is  still 
to  be  seen  at  Versailles  and  Fontainbleau. 
Such  groups  of  charming  nymphs  and  fairy 
shepherdesses — such  Colins  and  Colinettes — 
they  are  delicious  to  look  at.  Even  the 
Spinets  and  Sedan  chairs  were  made  vehicles 
for  highly  decorated  designs.  Some  of  these 
can  be  seen  at  the  Kensington  Museum.  So 
too  with  the  bureaux  with  their  delightful  little 
medallions  painted  sometimes  on  enamel,  and 
the  Watteau  fans  which  are  rare  and  exquisite. 

The  fashion  spread  quickly,  demand  in- 
variably creating  supply,  and  soon  all  over 
Europe  and  in  every  capital  there  were 
swarms  of  Italian,  Dutch,  and  French  artists 
eager  to  get  taken  -on  for  this  sort  of  work. 
Princelings,  dukes,  noblemen  and  rich  men 
of  all  classes,  considered  it  necessary  to 
decorate  their  palaces  and  country  seats,  and 
every  man  of  rank  and  influence  was  a  patron 


xxii 


Introduction. 


of  some  needy  artist,  who  formed  part  of  the 
household  and  ranked  with  the  poor  cousin 
and  the  chaplain.  This  would  be  naturally 
deteriorating  to  the  noble  art,  and  the  result 
soon  began  to  show  itself  in  the  decay,  of 
which  Oppermann,  Sternberg,  and  all  who 
have  written  on  or  studied  the  subject 
speak. 

Oppermann  tells  us  that  perhaps  the 
country  which  suffered  least  was  France.  He 
says:  ''In  Germany  the  perseverance  of  the 
Teuton  race  made  their  schools  famous  for 
the  perfection  to  which  they  brought  the 
technique  of  their  handiwork ;  the  German 
artist  was  a  pedant,  and  precisely  because  he 
knew  actually  nothing  of  the  eternal  laws  of 
art,  he  was  perpetually  talking  of  rules  and 
taste.''  But  he  goes  on  :  With  the  French 
'it  was  somewhat  different ;  the  French 
literature,  the  French  mind,  which  in  the 
eighteenth  century  governed  educated 
Europe,  was  not  by  any  means  conducive  to 
art ;  the  enlightenment  of  the  encyclopaedists, 
with  Voltaire  to  help  them,  possessed  too 
much  negativism  and  too  little  positivism  to 


Introduction. 


xxiii 


exercise  upon  the  arts  any  useful  influence ; 
in  fact,  to  understand  this,  one  has  only  to 
cast  an  eye  over  the  romances  and  the  poetry 
of  the  day,  for  the  most  part  written  by  the 
Galants  Abbes/^ 

For  all  this  he  goes  on  to  say  :  ''If  the 
encyclopaedists  had  no  good  influence  over  the 
schools  of  painting,  they  brought,  neverthe- 
less, a  certain  influence  to  bear  in  the  direction 
and  formation  of  taste  in  the  higher  classes. 

In  spite  of  their  effeminacy  and  love  of 
pleasure  the  French  aristocracy  possessed  a 
truer  sense  of  art,  more  elegance  of  taste, 
and  more  freedom  of  thought  than  prevailed 
elsewhere,  and  this  freedom  showed  itself  in 
every  walk/' 

The  landscape-gardener  used  his  own 
discretion  in  varying  the  stiff  style  of  planting 
which  had  been  introduced  from  Holland, 
and  which  had  grown  into  fashion  in  France 
as  elsewhere ;  but  although  at  Versailles 
and  St.  Cloud  the  straight  walks  and  yew 
trees  of  Hampton  Court  are  to  be  seen,  the 
artistic  vistas  cut  through  the  shrubberies, 
the  grottoes  and  shady  laurel  walks  **for 


xxiv 


Introduction. 


whispering  lovers  made/'  all  bear  testimony 
to  a  more  refined  taste,  and  a  certain  emanci- 
pation from  slavish  imitation  in  our  French 
neighbours.  So  too  with  their  schools  for 
painting.  It  is  agreed  by  all  writers  on 
the  subject  that  at  this  period  they  showed 
some  faint  traces  of  inspiration,  and  were  less 
trammelled  than  were  the  others  by  the  curse 
of  imitation ;  they  offered,  too,  some  evidences 
of  feeling  in  their  compositions,  and  for  that 
reason  the  French  school  stands  out,  as  it 
were,  in  this  dark  and  melancholy  period, 
which  may  be  with  justice  called  the  deca- 
dence of  art.  It  was  at  this  epoch  (and  Op- 
permann  especially  mentions  the  fact)  that 
the  pernicious  influence  exercised  by  the 
amateur  or  dilettante^  who  for  the  first  time 
came  prominently  to  the  front,  began  to  make 
itself  felt,  and  led  to  the  worst  results. 

Towards  the  middle  of  the  eighteenth  cen- 
tury some  symptoms  began  to  arise  which 
gave  better  hopes  for  the  future,  without  in 
any  way  reviving  the  old  and  ancient  glories 
of  art.  These  symptoms  were  identical  with 
the  appearance  of  a  new  art  history.  This 


Introduction. 


XXV 


book,  the  work  of  an  unknown  German 
student,  Winckelmann,  appeared  in  1755. 
It  was  called  the  Imitation  of  the  Antique," 
and  was  principally  directed  against  the  per- 
nicious taste  of  the  day,  and  in  particular 
against  the  prevailing  worship  of  Bernini, 
whose  outrages  against  nature  and  the  uni- 
versal laws  of  beauty  were  shown  up  piti- 
lessly. 

Winckelmann  s  inspiration,  his  knowledge 
of  Greek  antiquity,  his  artistic  feeling, 
breathed  through  the  book.  He  wrote  in 
words  of  fire,  and  his  words  did  not  fall  upon 
barren  soil.  He  rose  up  like  a  prophet  of 
old,  and  denounced  the  vile  system  of  copy- 
ing ;  he  annihilated  the  trivial,  pedantic 
mannerism  which  prevailed,  and  created  an 
entirely  new  school,  which,  if  not  free  from 
faults  and  grave  imperfections,  nevertheless 
contained  the  seeds  of  all  that  is  noble,  fresh, 
and  inspired,  heiving,  like  all  true  inspiration, 
its  root  in  the  sincerity  of  the  man  who 
caused  this  sudden  reaction. 

For  all  this,  and  without  in  any  way  de- 
tracting from  the  debt  of  gratitude  art  owes 


xxvi 


Introduction. 


to  its  benefactor,  Winckelmann,  it  would  be 
idle  to  maintain  that  the  artists  contemporary 
with  Winckelmann  ever  attained  the  standard 
of  true  art.  The  efforts,  however,  made  by 
some  amongst  them  were  in  the  highest  de- 
gree commendable,  and  go  far  to  prove  that 
every  return  to  the  laws  of  nature  or  to  the 
true  models  of  antiquity  must  have  excellent 
effects,  even  if  art  itself  is  not  at  its  highest 
point  of  development. 

From  the  desolation  and  general  decay  which 
prevailed  in  the  early  part  of  the  eighteenth 
century,  it  is  not  easy  to  give  any  but  meagre 
details.    Oppermann,  however,  says,  and  he 
is  supported  by  Sternberg  and  Goethe,  that 
the  French  (so-called)  galanterie  painters, 
Boucher,  Watteau,  Greuze,  form  a  group, 
to  which  imitators  of  less  merit  belong.''  ^ 
Amongst  the  German  school  he  sets  apart 
another  group — Christian  Dietrich,  Raphael 
Mengs  and  Angelica  Kauffmann — and  of  her 
he  says:     There  have  been  few  artists  who 
remained  as  she  did  so  persistently  true  to 

^  Oppermann  would  have  been  more  correct  in  making 
the  group  Watteau,  Lancret,  and  Boucher. 


Introduction. 


xxvii 


her  own  nature.  She  was  always  tender, 
womanly,  sympathetic,  and,  although  occasion- 
ally she  erred  on  the  side  of  exaggerated 
sentiment,  she  never  offended  against  good 
taste.  She  leaves  us  a  pleasant  recollection 
of  a  sweet  woman,  who  has  in  a  certain  degree 
influenced  the  development  of  art.  Her 
memory  will  be  always  cherished,  not  only 
in  her  own  country,  but  wherever  art  is 
reverenced." 


ANGELICA  KAUFFMANN. 


CHAPTER  I. 
1741— 1765. 

CHILDHOOD  AND  GIRLHOOD. 

Kauffmann  ^  is  by  no  means  an  uncommon 
name,  in  fact,  in  that  respect  it  resembles  in 
Germany  our  Smith,  Jones,  or  Robinson. 
The  all-sanctifying  Von  has  never  pre- 
ceded the  name  in  the  family  tree. 

John  Joseph,  the  father  of  Angelica,  was  a 
native  of  Schwartzenberg,  in  the  Bregenz, 
where  the  family  had  dwelt  for  years.  They 
were  simple,  kindly  folk,  and  not  a  little 
proud  when  John  Joseph  declared  he  would 
be  a  painter.  A  painter  he  was,  accord- 
ingly, but  in  no  wise  an  artist  ;  his  talent 

^  The  name  is  written  either  Kauffma//«  or  Kauffma;/, 
Angelica  used  both  ways,  but  in  later  years  adopted 
only  one  n. 

B 


2  Angelica  Kaitffmann. 


never  rising  beyond  church  decoration  and 
a  little  portrait  painting.  The  church  work 
took  the  lead,  especially  as,  being  a  devout 
Catholic,  he  found  patrons  amongst  the 
bishops  and  heads  of  monasteries,  and  so 
made  a  comfortable  living. 

He  was  engaged  in  such  work  when  we 
first  hear  of  him,  at  Chur  or  Coire — capital  of 
the  Grisons — whither  he  had  come  from  his 
native  mountains  in  the  Bregenz  ;  here  also, 
he  married  one  Cleofa  Lucci  or  Lucin,  still 
more  commending  himself  to  his  patrons  by 
bringing  his  heretic  wife  into  the  fold  of 
Catholicity.^ 

The  first  and  only  fruit  of  this  marriage  was 
Marie  Anne  Angelica  Catherine,  who  was 
born  at  Battazatta^  on  the  30th  of  October, 
1 74 1.  Gering  says,  An  angel  gave  Angelica 
her  name,  and  under  a  strange  sky  she  re- 
ceived the  soul  of  her  native  country.''  Al- 

^  The  Dictionary  of  National  Biography  states  that 
Joseph  had  been  previously  married  to  Maria  Sibilla 
Lohrin,  by  whom  he  had  a  son,  who  died  1740,  but 
Rossi  makes  no  mention  of  this  marriage^  neither  does 
Zucchi. 

'  Ziuchi  MS. 


Childhood , 


3 


though  we  must  consider  this  a  poetic  flight, 
still  it  was  evident  that  the  child  had  peculiar 
graces  and  attractions,  which  were  visible  to 
others  besides  her  adoring  parents.  She  was 
a  mere  baby  when,  the  work  at  Coire  being 
finished,  John  Joseph  moved  his  family  to 
Monbegno,  in  the  Valtellina,  where  he 
had  fresh  engagements,  and  here  the  edu- 
cation of  the  future  artist  began  so  far  as 
teaching  her  the  rudiments. 

It  is  evident  that  from  the  very  beginning 
the  father  had  resolved  that  his  little  daughter 
should  be  a  prodigy.  It  was  fortunate  that 
he  did  not  (as  so  many  parents  have  done) 
altogether  spoil  the  rich  harvest  lying  ahead 
by  an  injudicious  system  of  forcing.  That 
he  did,  however,  injure  the  early  seed  com- 
mitted to  his  care  is  certain. 

Rossi  tells  us,  that  when  the  painter 
began  to  teach  the  child  how  to  write,  he 
remarked  that  when  he  gave  her  her  first 
copy-book,  in  place  of  copying  the  text  she 
imitated  the  ornamentations  and  hierogly- 
phics, and  that  her  drawing  was  in  infinitely 
better  taste  than  the  original.    Also  that  her 

B  2 


4 


Angelica  Kauffmann. 


greatest  delight  was  to  be  allowed  to  remain 
in  her  father's  workroom  where  the  plaster 
casts  attracted  her.  As  she  grew  older  she 
spent  her  play-time  in  copying  little  heads 
and  figures,  either  with  a  pen  or  pencil/ 
and  always  with  astonishing  precision  and 
neatness. 

Kauffmann  gladly  encouraged  the  child's 
fancy,  and  watched  with  intense  anxiety  for 
the  moment  when  she  would  be  old  enough 
to  begin  to  learn  in  real  earnest.  By  way  of 
losing  no  time,  she  was  shown  every  day 
some  rare  prints,^  of  which  John  Joseph  had  a 
large  collection,  and  these  he  explained  to  her 
with  much  care.  He  was  convinced  that  this 
method  of  teaching,  although  slightly  over 
her  head,  would  by  degrees  form  her  taste 
and  educate  her  eye. 

Under  such  training  the  child  became 
wonderfully  precocious.  At  the  age  when 
most  girls  play  with  their  dolls,  she  had 
begun  a  course  of  study,  her  father  being  a 
very  strict  master. 

^  When  she  was  a  baby  her  plaything  was  a  chalk 
pencil. — Zucchi  MS, 

^  They  were  lent  to  him  by  friends. — MS. 


Childhood. 


5 


She  might  have  had  worse,  for  setting 
aside  his  eagerness  in  pushing  on  his  pupil, 
he  was  conscientious  enough  in  the  principles 
he  laid  down.  It  happened  in  this  case,  as 
it  has  happened  before,  that  an  indifferent 
artist  has  produced  apupil  of  astonishing  merit. 

She  had  to  study  from  plaster  models. 
She  had  to  copy  heads  without  end,  her  father 
not  being  content  that  she  should  only  sketch 
them,  but  forcing  her  to  re-copy  them  in  oil, 
so  as  to  learn  the  proper  treatment  of  light 
and  shade  ;  and  it  was  to  her  early  practice 
in  this  manner  that  she  owed  that  lightness  of 
touch  and  great  power  of  relief,  in  which  she 
afterwards  excelled. 

At  this  time  the  child  artist  was  barely  nine 
years  of  age,^  and  already  her  talent  was 
beginning  to  be  noticed.  Friends  and  ac- 
quaintances blamed  both  father  and  mother 
for  working  a  child  of  such  tender  years  so 
hard.  They  accused  them  of  undue  severity, 
but  this  is  an  unfair  accusation.  The  little 
girl  was  the  idol  of  both  parents,  and  to  John 

^  In  Meyer's  Conversations  Lexicon,"  it  is  stated 
that  at  this  age  she  drew  designs  representing  "  The 
Seasons  "  on  the  walls  of  the  house. 


6 


Angelica  Kattffmann. 


Joseph  especially  she  was  the  very  apple  of 
his  eye.  In  her  were  centred  all  his  hopes 
and  ambitions.  The  high  place  on  the  ladder 
of  fame  to  which  he  had  never  dared  to  raise 
his  humble  eyes,  was,  he  imagined,  reserved 
for  his  fair-haired  daughter. 

Anyone  who  had  seen  her  in  her  father  s 
studio,  would  have  been  convinced  that  no 
undue  pressure  was  put  upon  her  infant 
strength ;  she  herself  ran  eagerly  to  the 
corner  where  her  palette  and  brushes  were 
kept,  and  established  herself  at  her  work 
with  the  most  infinite  content ;  the  praise 
which  she  received  was  the  sweetest  reward 
that  could  be  given  to  her. 

Nevertheless,  with  all  due  reverence  to  the 
authority  from  which  I  quote,  it  must  be 
confessed,  that  when  a  couple  of  years  later 
we  read  of  Angelica,  aged  eleven  years, 
practising  as  a  portrait-paintei^^  to  whom  no 
less  a  personage  than  the  dignified  Bishop  of 
Como,  Nevroni  Cappucino/  sat,  we  are  in- 

^  Nevroni  Cappucino  was  not  her  first  sitter.  At  eight 
years  old  she  had  taken  likenesses  of  several  beautiful 
ladies  and  pretty  children. — Zucchi  MS. 


Childhood. 


7 


clined  to  think  that  John  Joseph  s  critics  were 
in  the  right ;  it  was  at  all  events  to  be  deplored 
that  the  little  girl  was  pushed  forward  as  an 
infant  prodigy. 

The  portrait-painting  began  at  Como, 
whither  the  Kauffmanns  had  removed  in  1752, 
and  the  Bishop,  we  are  told,  was  a  most  digni- 
fied prelate,  stately  in  figure,  with  fine  eyes, 
long  grey  beard,  and  brilliant  colouring.  It 
musl  have  gone  hard  wuth  the  little  maiden 
of  eleven  to  transfer  all  this  to  her  canvas. 
We  are  assured,  however,  that  she  was  not  in 
the  least  affrighted,  but  set  to  work  with  a 
will.  When  one  comes  to  think  of  it,  it  must 
have  been  a  pretty  sight,  and  one  which 
would  make  a  pleasing  subject  for  a  picture — 
the  child  painter  sitting  opposite  her  vener- 
able model.  The  portrait,  which  was  in 
pastel,  gave  universal  satisfaction,  and  the 
Bishop  expressed  himself  much  pleased  with 
the  likeness. 

The  Kauffmanns  remained  two  years  in 
Como.  Rossi  says  that  the  soft  southern 
breezes  of  the  lake,  the  richness  of  the 
gardens  and  villas  on  its  shores,  the  romantic 


8  Angelica  KauffmanUs 


charm  of  its  laurel  hedges,  in  which  marble 
statues  spoke  silently  of  past  ages — all  this 
had  a  distinct  influence  on  the  impressionable 
mind  of  a  precocious  and  highly-sensitive 
child,  such  as  Angelica  was,  and  laid  the 
groundwork  of  what  afterwards  developed 
into  a  tendency  somewhat  unhealthy  and 
morbid. 

In  Como,  too,  the  young  artist  was  an 
object  of  great  interest,  her  youth  and  beauty, 
together  with  her  wonderful  proficiency, 
exciting  much  sympathy.  In  later  years  she 
always  recurred  to  this  period  as  the  happiest 
of  her  life.  The  time  had  now  come,  how* 
ever,  when  it  would  be  necessary  for  her  to 
enter  upon  a  wider  field  of  instruction  than 
it  would  be  possible  for  her  father,  unassisted, 
to  supply.  The  works  of  the  great  masters 
were  as  yet  only  known  to  her  by  hearsay,  or 
through  the  medium,  in  some  instances,  of 
copies  or  engravings.  Kauffmann  (who,  it 
must  be  owned,  lost  no  opportunity  of  culti- 
vating to  the  utmost  his  child's  gift)  resolved, 
therefore,  to  move  onwards,  and  the  family 
left  Como  for  Milan,  where  the  opportunities 


Childhood. 


9 


for  instruction  would  be  greater.  It  was  like 
the  opening  of  a  new  world  to  the  girl  when 
she  saw  this  beautiful  city,  about  the  most 
beautiful  in  Europe,  with  its  fine  churches, 
fairy-like  palaces,  and  magnificent  theatres. 

Here,  too,  Leonardo  da  Vinci  had  once 
held  a  school  of  art,  and  the  sight  of  the 
splendid  works  of  this  great  master  was  not 
without  its  influence  upon  the  young  artist's 
future  career.  She  studied  the  softness  of 
expression  and  the  stately  repose  of  feature, 
which  are  the  leading  characteristics  of  the 
great  Lombardian  painter,  and  traces  of 
which  are  very  evident  in  all  her  subsequent 
work. 

Her  residence  in  Milan  had,  however, 
other  and  more  direct  influence  upon  her  life. 
In  those  days  female  students  were  rare. 
The  life  of  an  artist  was  not  one  to  be 
chosen  willingly  by  women,  as  the  drudgery 
was  considered  unfit  for  their  strength,  and 
the  Life  schools  equally  unfit  for  their 
sex.  When,  therefore,  the  Governor  of 
Milan,  Rinaldo  d'Este,  Duke  of  Modena,  heard 
that  a  young  girl  was  copying  in  his  gallery, 


lo  Angelica  Kmiffmann. 


he  wished  to  see  her,  and  both. he  and  his 
duchess  were  at  once  impressed  by  her 
talent,  and  charmed  by  her  beauty  and 
simplicity.  All  through  her  life  Angelica 
seems  to  have  possessed  this  strange  power 
of  attraction,  which  in  her  case  was  almost 
irresistible,  and  yet,  perhaps  it  proved  more 
a  dangerous  gift  than  one  that  secured  her 
any  tangible  or  lasting  advantage. 

The  Duchess  of  Modena  took  a  fancy  to 
the  young  German,  and,  to  the  delight  of  John 
Joseph,  honoured  her  by  sitting  to  her  for 
her  portrait,  and  her  example  was  immedi- 
ately followed  by  the  obsequious  courtiers. 
On  all  sides  orders  came  in  and  favours 
were  showered  on  the  Duchess's  favourite  ; 
Cardinal  Pozzobonelli,  the  Bishop  of  Milan, 
and  Count  Firman  ^  took  especial  interest  in 
her  career,  and  through  their  means  she  had 
access  to  some  of  the  best  private  collections 
in  Milan. 

The  two  years  which  the  Kauffmann 
family  spent  in  Milan  were  of  the  greatest 

^  Plenipotentiary.    A  distinguished  amateur. 


Childhood. 


II 


use  in  developing  the  young  artist,  and  it 
was  no  doubt  due  to  her  constant  intercourse 
with  the  nobility  of  the  Milanese  Court, 
that  she  acquired  that  ease  of  manner  and 
great  confidence  for  whidi  she  was,  later  on, 
remarkable,  and  which  never  deserted  her, 
even  in  presence  of  the  most  exalted  person- 
ages. Her  pleasant  life  in  Milan,  amidst  her 
courtly  friends,  was,  however,  to  come  to  an 
end. 

Her  mother,  Cleofa  Lucci,  died  in  March, 
1757,  just  as  her  young  daughter  had 
reached  her  sixteenth  year,  a  dangerous  age 
for  a  girl  of  her  temperament  to  be  left  to 
the  sole  charge  of  a  rather  silly  father, 
whose  judgment,  to  the  great  detriment  of 
the  future  artist,  was  blinded  by  his  affection 
and  paternal  pride. 

Both  father  and  daughter  were  overcome 
with  grief  for  the  loss  of  poor  Cleofa,  and 
Milan  with  its  associations  becoming  insup- 
portable to  them,  John  Joseph  determined 
to  visit  his  old  home  in  the  Bregenz,  where 
he  had  not  been  since  the  Bishop,  his  first 
patron,  had  called  him  thence  to  Chur. 


1 2  A  ngelica  Kauffmann . 


He  had  hostsof  relations  there,  brothers  and 
sisters,  uncles  and  aunts,  to  whom  he  wished 
to  present  his  golden-haired  Angelica.  And 
besides,  he  had  the  offer  of  a  commission  to 
decorate  the  parish  church  of  Schwartzen- 
berg — his  native  village.  The  journey  was 
therefore  determined  on,  to  the  great  joy  of 
Angelica,  to  whom  her  once-loved  Milan  had 
become  a  desert ;  she  also,  with  the  versatility 
of  youth,  looked  forward  with  rapture  to  seeing 
a  new  country — her  father  s  birth-place. 

To  give  my  readers,  who  may  not  have 
visited  this  delightful  spot,  an  idea  of  its 
beauty,  I  cannot  do  better  than  quote  from 
Oppermann  s  Walk  through  the  Bregenzer 
Wald  (or  Valley  of  the  Bregenzer  Ach),'' 
a  charming  little  book  to  read  in  the  original. 

I  made  a  very  early  start,"  he  says  ;  five 
o'clock  saw  me  on  my  way.  In  the  parish 
church  of  Alberschwende  the  bells  were 
ringing  for  morning  service,  and  pious 
women  were  hurrying  to  begin  the  day  by 
prayer.  I  ascended  the  ^  Lorena,'  which  is 
a  mountain-comb,  from  which  the  road  winds 
into  the  valley  below.     The  fresh  dew  of 


Childhood. 


the  early  morning  lay  on  the  hill-side  and  the 
vale  beyond,  hiding  the  landscape.  Sud- 
denly the  mist  lifted,  and  before  me  I  saw 
the  hill  and  dale  clothed  in  all  the  glory  of 
the  morning  sun.  It  was  a  sight  to  remem- 
ber ;  the  eye  did  not  know  where  to  turn 
to  take  in  all  the  beauty  of  the  scene. 
To  the  east,  the  little  village  I  had  left 
behind  me — Alberschwende — with  its  scat- 
tered farm-houses,  the  towers  and  turrets 
of  the  convent  of  Bildstein,  and  farther  on 
the  Suabian  country,  encompassed  by  undu- 
lating hills,  which  seem  to  reach  almost  to 
the  horizon,  and  mix  themselves  with  the 
blue  of  heaven  itself.  . 

A  new  and  altogether  strange  world 
opened  before  me  as  I  turned  to  the  other 
side.  Rich  with  meadow-land,  and  a  luxuri- 
ant growth  of  shrub  and  tree,  is  the  slope  of 
the  mountain  which  sinks  gradually  as  it 
descends  into  the  lovely  valley.  The  Ach, 
which  has  been  winding  circuitously  in  and 
out  of  the  hill-side  with  all  the  coquetry  of  a 
mountain  stream,  now  bursts  into  momentary 
importance  as  it   reaches   the  valley,  and 


1 4  A  ngelica  Kauffmann . 


covered  bridges  span  its  increased  width  at 
Schwartzenberg  and  Egg. 

Just  at  the  foot  of  the  mountain,  and  in 
the  centre  of  the  greenest  meadow-land,  sur- 
rounded by  rich  fruit  gardens,  embosomed  in 
woods  and  hills,  lies  the  picturesque  village 
of  Schwartzenberg  ;  almost  joining  it  are  Egg 
and  Andelbach,  with  their  cosy  farm-houses 
nestling  in  the  trees;  and  farther  on,  built  up 
the  hill-side  in  terrace  fashion,  Huttesau/' 

The  German  writer  goes  on  to  describe 
the  village  of  Schwartzenberg  as  he  saw  it. 
''The  inhabitants  were  all  busy  with  their 
harvesting,  and  all  was  quiet  in  the  hamlet. 
The  doors  stood  open,  and  one  could  see 
the  sunny  grass-plots  behind  the  houses. 
Under  the  apple-trees  laden  with  fruit  sat 
some  children  playing  with  flower-chains. 
A  dog  lay  yawning  in  the  heat  upon  the 
doorstep.  The  pigeons  cooed  on  the  roofs, 
and  in  the  distance  the  murmuring  of  the  Ach 
made  a  musical  sound.  It  was  a  true 
summer  s  day ;  and,  to  pass  an  idle  hour 
before  dinner,  I  walked  across  the  grass- 
grown    village   square,    in   the   centre  of 


Childhood, 


15 


which  stood  an  old  well  full  of  fresh  water, 
and  made  my  way  to  the  churchyard,  in 
the  middle  of  which  stands  the  church — 
an  enchanting  spot.  The  door  stood  in- 
vitingly open,  a  delicious  coolness  breathed 
upon  me  as  I  went  in.  The  altars  were 
richly  dressed,  the  standards  were  fixed  in 
each  circle  of  seats,  the  frescoes  on  the 
walls  are  the  work  of  Angelica  Kauffmann — 
gigantic  Apostles  copied  from  Piazzettas 
engravings." 

This  charming  description  of  village  and 
church  brings  us,  so  to  speak,  in  touch  with 
Angelica.  More  than  a  hundred  years  have 
gone  by  since  the  girl  artist  worked  in  the 
parish  church.  Her  memory  still  lives  in  the 
little  hamlet ;  they  talk  of  her  and  what  she 
did  and  said,  as  if  the  hundred  years  were 
only  a  few  weeks.  Any  visitor  coming  to 
Schwartzenberg  cannot  be  an  hour  in  the 
village  without  hearing  these  traditions,  and 
being  shown  the  marble  bust,  placed  in  the 
church  to  her  honour,  together  with  her 
early  attempts  at  drawing,  which  are  in  pos- 
session of  one  fortunate  individual.^  This 
^  Herr  Wakh,  schoolmaster  of  Schwartzenberg. 


i6  Angelica  Kauffmann. 

fidelity  of  the  simple  villagers  is  the  more 
touching  as  constancy  towards  departed 
genius  is  somewhat  rare. 

In  after  years,  Angelica  would  often  recur 
to  this  time  spent  in  her  father  s  native  village, 
and  would  tell  the  circle  of  friends  who  con- 
gregated round  her  anecdotes  of  the  sim- 
plicity of  her  life — how  she  had  to  rise  at 
break  of  day  and  go  through  deep  snow  to 
the  parish  church  to  hear  mass  ;  also,  how 
on  one  occasion,  when  staying  with  her  uncle, 
Michael,  a  goatherd  in  his  service,  coming  to 
bid  her  welcome,  sat  down  at  the  same 
table  with  her,  a  proceeding  which  she  was 
wont  to  contrast  with  her  present  position. 

Who  would  imagine,"  she  used  to  say, 
**that  I,  who  have  been  in  company  with 
some  of  the  most  exalted  personages,  once 
dined  with  a  goatherd  ? "  This  remark 
would  seem  to  us  to  savour  of  pride,  although 
all  her  German  biographers  tell  it  as  if  it 
were  a  proof  of  her  humility.  They  con- 
trast her  simplicity  with  the  pride  of  others, 
who,  like  the  haughty  beetle  in  the  fable 
ignore  their  old  companion,  the  worm.*' 
Angelica,    however,    would    hardly  have 


Childhood. 


17 


relished  this  somewhat  doubtful  compli- 
ment. 

After  a  time  both  father  and  daughter 
began  to  weary  of  the  solitude  of  Schwartzen- 
berg,  and  to  pine,  especially  Angelica,  for 
the  society  and  the  pleasures  which  she 
had  enjoyed  in  Milan.  This  feeling,  most 
natural  to  one  of  her  age,  and  so  well  fitted 
to  shine  in  even  the  most  refined  circles, 
induced  her  father,  who  was  proud  of 
his  darling  and  eager  to  gratify  her 
wishes,  to  accept  the  invitation  of  Cardinal 
Roth — to  whom  their  friend.  Cardinal 
Pozzobonelli,  had  given  them  an  introduction 
and  special  recommendations. 

The  visit  was  most  satisfactory,  the  Car- 
dinal treating  them  with  the  greatest  dis- 
tinction.^ The  young  artist  received  a 
commission  to  paint  his  Eminence's  portrait, 
an  undertaking  in  which  she  succeeded  so 
well  that  some  persons  in  the  town  of  Mors- 
burg,  where  the  Cardinal's  palace  was 
situated,  also  sat  to  her.^ 

^  ''Con  decora,'^  Zucchi  says. 

^  The  Cardinal  was  Bishop  of  Constance.  He  lived 
with  all  the  splendour  of  a  Sovereign  Prince. 

C 


1 8  Angelica  Kaicffmann. 


From  Morsburg  father  and  daughter  made 
their  way  back  to  Constance,  and  thence  into 
Northern  Italy,  stopping  to  pay  a  visit  to 
Count  Montfort,  with  whom  they  remained 
some  time,  AngeHca  painting  the  portraits 
of  that  noble  family. 

All  the  biographers  of  our  artist  agree  that 
at  this  period  her  personal  attractions  were 
great.  She  was  in  the  first  blush  of  youth, 
and  although  she  was  not  of  a  commanding 
or  striking  order  of  beauty,  she  possessed — 
what  was  perhaps  even  better — a  wonderful 
power  of  winning  hearts. 

Her  portraits  all  tell  the  same  story.  A 
face  of  extraordinary  sweetness  and  sensi- 
bility, an  enchanting  smile,  and  long  seductive 
eyes.  vShe  was  tall  and  graceful,  quick  of 
intelligence,  and  to  these  charms  was  added 
a  fascination  of  manner  and  a  ready  sym- 
pathy which  all  through  her  life  secured  for 
her  hosts  of  friends.  As  is  often  the  case,  she 
possessed  almost  as  much  talent  for  music  as 
for  painting.  She  played  both  the  clavichord 
and  the  zither  with  exquisite  taste,  and  her 
voice  was  wonderfully  sweet,  and  of  extra- 


Childhood, 


19 


ordinary  flexibility — so  much  so,  that  many 
of  her  intimate  friends  advised  her  to  abandon 
painting  and  make  music  her  profession. 
Foremost  amongst  these  advisers  was  a  young 
man  then  staying  at  Montfort  Castle — a 
musician  of  much  promise.  That  the  affair 
should  not  be  wanting  in  the  element  of 
romance  he  was  deeply  attached  to  her.  In 
the  debate  that  followed,  Angelica  was  torn 
one  way  and  then  another.  She  naturally 
inchned  to  the  brilliancy  of  an  operatic  career. 
She  believed  the  promises  of  success  that 
were  assured  to  her,  and  there  is  little  doubt 
that  with  her  grace  and  talent  she  would  have 
succeeded.  Her  father,  who  was  easily  led 
and  greedy  for  money,  was  persuaded  to  take 
the  side  of  those  who  advised  the  new  venture, 
and  who  assured  him  that  she  would  make  a 
rapid  fortune.  Kauffmann  was  poor,  and  his 
failing  health  incapacitated  him  from  work. 
For  Angelica,  therefore,  despite  her  talent  for 
painting,  there  was  a  long  and  weary  round  to 
travel  before  she  could  hope  to  obtain  the  fame 
which  would  lead  to  fortune.  It  was  a  heavy 
task  for  so  delicate  and  refined  a  creature, 

c  2 


20  Angelica  Kauffmann, 

to  plod  through  all  the  difficulties  which  lay 
before  her. 

All  these  reasons  combined  induced  John 
Joseph  to  throw  in  his  vote  for  the  stage. 
At  this  juncture — a  critical  one  for  our  young 
artist — an  old  priest  appeared  on  the  scene. 
He  had  known  Angelica  from  her  childhood,^ 
and  some  say  she  confided  to  him  the  doubts 
and  scruples  which  were  agitating  her  mind, 
and  asked  him  to  interfere.  Any  way  he  did 
so,  representing  to  the  father  the  temptations 
which  were  likely  to  beset  the  path  of  so 
young  and  beautiful  a  girl,  and  the  danger  to 
which  he,  her  guardian,  was  exposing  her. 
The  stage  at  that  time  was  in  a  debased 
condition.  Players  and  singers  alike  were 
ranked  as  an  inferior  class,  and  for  one  of  her 
religion  especially,  there  were  pains  and 
penalties  attached  to  those  who  belonged  to 
the  profession,  which  made  it  in  their  case  a 
virtual  surrender  of  every  principle  of  their 
faith. 

Kauffmann  and  his  daughter  were  devout 
Catholics.    It  was  enough  to  hint  at  these 
^  He  was  the  chaplain  of  Count  Firman, 


Childhood. 


21 


penalties,  to  produce  a  change  in  the  ideas  of 
the  father,  the  project  of  the  operatic  stage 
as  a  profession  was  abandoned  and  never 
renewed.  AngeHca,  however,  lost  her  lover 
the  musician,  who  never  renewed  his  suit. 
Zucchi,  who  told  the  story  to  Rossi,  added 
that  in  her  picture  of  Orpheus  leading 
Eurydice  out  of  Hades,  which  she  painted  at 
Montfort  Castle,  Orpheus  is  the  portrait  of 
the  musician  who  endeavoured  to  entice  her 
from  her  beloved  art. 

Many  years  later  she  showed  that  the 
recollection  of  this  time  of  struggle  still  dwelt 
in  her  memory.  She  painted  herself  as 
standing  between  the  rival  arts  of  music  and 
painting  in  a  painful  state  of  indecision  ;  this 
picture  she  presented  to  her  friend  Bernini.^ 

During  her  stay  at  Count  Montfort's 
Angelica  had  for  the  first  time  recognized 
the  power  of  her  own  attractions  ;  she  w^as 
surrounded  with  admirers  and  flatterers. 
Her  biographer,  Sternberg,  blames  her 
severely  for  listening  to  their  beguiling 
words ;  he  forgets  that  to  her  good 
^  See  Appendix. 


2  2  Angelica  Kmtffinann, 

sense  was  due  the  departure  of  the  Kauff- 
manns  from  this  enchanted  castle.  She 
was  the  one.  to  persuade  her  weak-minded 
father  to  leave  these  pleasant  surroundings, 
and  to  take  her  where  she  could  pursue  a 
course  of  study  which  was  most  necessary  for 
perfecting  her  in  the  art  she  had  adopted. 
It  was  difficult  at  first  to  make  John  Joseph 
see  the  matter  in  its  true  light.  He  was 
growing  old,  and  was  glad  to  remain  where 
he  was  in  comfort.  Angelica,  however,  had 
begun  to  take  the  lead  in  the  little  household, 
where  now  the  added  spur  of  poverty  was 
keenly  felt.  If  money  were  to  be  gained,  it 
must  be  by  the  brush  of  the  younger  artist. 
From  all  points  of  view,  therefore,  it  w^as 
important  she  should  go  where  the  best  oppor- 
tunity for  study  could  be  aftbrded.  With  this 
view  father  and  daughter  set  out  on  their 
pilgrimage,  visiting  Monbegno,  where  Joseph 
Kauffmann's  sister  was  married  to  Florini,  an 
Italian ;  thence  father  and  daughter  pro- 
ceeded by  way  of  Bologna  and  Parma,  arriving 
in  Florence,  June,  1762. 

They  were  provided  with  excellent  intro- 


Childhood. 


23 


ductions,  and  as  usual  the  beauty  and  charm 
of  the  girl-artist  produced  its  effect.  She 
received  much  gratifying  attention,  and  a 
room  in  the  Duke's  Gallery  was  specially 
set  apart  for  her,  where  she  could  copy  what- 
ever picture  she  was  engaged  upon,  without 
being  disturbed  by  the  prying  eyes,  or 
annoyed  by  the  unpleasant  remarks  of  other 
students.  She  applied  herself  to  her  work 
with  extraordinary  diligence,  sometimes 
working  from  sunrise  to  sundown  ;  and  when 
she  returned  home  in  the  evening  exhausted 
with  the  day's  incessant  toil,  she  only  waited 
for  the  necessary  time  to  get  some  refresh- 
ment to  aoain  commence  work. 

o 

She  was  at  this  period  of  her  life  entirely 
possessed  by  that  enthusiasm  which  at  times 
seizes  upon  the  artistic  mind.  She  lived  only 
for  study  and  for  her  art ;  looking  at  the  work 
of  the  dead  giants  who  had  gone  before  her, 
ambition  grew  up  in  her  soul  to  be  like  them 
— to  fill  posterity  with  wonder  and  admiration. 
That  this  wish  remained  to  a  certain  extent 
unfulfilled  was  in  a  great  measure  owing  to 
the  circumstances  which  befell  her  in  after  life, 


24 


A^igelica  Kauff^nann. 


and  also  to  the  hindrances  which  then — far 
more  than  in  the  present  time — stood  in  the 
way  of  women  who  sought  to  make  their 
mark,  and  thus  rendered  their  best  efforts 
naturally  incomplete. 

In  spite  of  her  heavier  work,  Angelica  found 
time  to  execute  several  historical  pictures,  to- 
gether with  portraits  of  distinguished  persons, 
during  her  stay  in  Florence.  These  last  were 
the  necessary  pot-boilers  which  kept  the  wolf 
from  the  door,  and  they  are  proofs  of  the  in- 
dustry and  goodness  of  the  young  girl  who  had 
all  the  burden  of  supplying  the  daily  wants  of 
herself  and  her  father. 

After  a  year's  residence,  Angelica  with 
her  father  proceeded  on  her  journey  to 
Rome,  there  to  continue  the  course  of  study 
so  well  begun  in  Florence. 

No  time  could  have  been  better  chosen 
for  her  visit.  Rome  was  brilliant — scintil- 
lating at  all  points  with  genius — crowded 
with  princes,  statesmen,  artistSp  it  offered  a 
fascinating  spectacle  rich  with  everything 
that  could  appeal  to  a  mind  like  Angelica  s. 
To  Rome  she  vowed  an  eternal  fidelity,  a 


Childhood. 


25 


vow  she  most  faithfully  kept.  Later  on,  when 
there  was  a  question  of  an  advantageous 
marriage,  she  wrote  to  her  father,  Not  so 
early  will  I  bind  myself.  Rome  is  ever  in 
my  thoughts."  And  so  it  was  until  the  day 
she  passed  from  under  the  shelter  of  its 
walls. 

Our  heroine's  usual  facility  for  making 
friends  came  well  to  the  front  during  her  stay 
in  Rome.  She  made  lasting  friendships, 
which  were  of  much  use  to  her  in  her  future 
career.  Notably  with  English  visitors,  as 
Lord  and  Lady  Spencer,  Lady  Wentworth, 
some  members  of  the  ducal  family  of  Devon- 
shire, and  many  others. 

By  the  artists  she  was  most  favourably 
received,  and  admitted  into  the  inner 
circle,  which  was  presided  over  by  the 
great  art  critic,  Winckelmann,  who  at  this 
time  had  supreme  influence  in  the  Art 
World. 

All  German  writers  from  Goethe  down- 
wards are  apt  to  gush  somewhat  as  to  the 
giant  intellect  of  the  art  restorer  or  apostle 
(for   so  he  may  be  justly  called)  of  the 


26  A^igelica  Kattffmann. 


eighteenth  century.  His  onslaught  on  the 
false  teachings  that  prevailed  was  courageous 
and  deserving  of  all  the  gratitude  and 
encomiums  bestowed  upon  him  by  his  own 
countrymen,  in  the  very  longest  and  biggest 
words  in  their  formidable  vocabulary — for- 
midable merely  so  far  as  the  mileage  of  the 
words  is  in  question. 

Anyone  who  has  ever  read  Goethe's 
travels  in  Italy  will  remember  his  outburst, 

To-day  Winckelmann's  letters  fell  into  my 
hands.  With  what  emotion  have  I  read 
them !  Thirty  years  ago,  at  this  time  of 
year,  he  came  here  a  yet  poorer  fellow  than 
I  am.  He  too  was  full  of  an  earnest  wish 
to  fathom  the  depths  of  ancient  Art.  How 
bravely  he  worked,  and  what  remains  to  me 
but  the  memory  of  this  man  who  lived  where 
I  live  now  !  "  Again,  Winckelmann  s  let- 
ters are  not  a  representation  of  life,  they  are 
life  itself — they  induce  hope,  desire,  misgiv- 
ing."   Goethe  devotes  pages  to  his  hero  ; 

There  are  peculiar  minds,^'  he  says,  who 
find  in  themselves  a  necessity  to  seek  in  the 
exterior  world  a  counterpart  of  what  nature 


Childhood, 


27 


has  implanted  in  themselves,  and  through  this 
the  soul  becomes  elevated  and  purified,  and 
we  can  have  full  assurance  that  such  an  one 
will  have  created  for  himself  the  most  perfect 
existence  here  and  hereafter.  So  it  was 
with  Winckelmann  ;  in  him  nature  had  found 
what  makes  and  adorns  man.  A  miserable 
childhood,  insufficient  instruction  in  his 
boyhood,  and  the  iron  pressure  of  poverty 
had  chained  the  young  student  to  the  school- 
master s  desk  in  an  obscure  village.  He  was 
fully  thirty  years  of  age  before  a  ray  of  sun- 
shine crossed  his  path." 

Goethe  goes  on  to  tell  us  (investing  his 
subject  with  all  the  charm  this  great  master 
of  word-painting  possessed)  how  the  poor 
schoolmaster  educated  himself.  The  blind 
rector,  whose  reader  he  became,  returned 
this  service  by  giving  the  lad  the  run,  so  to 
speak,  of  his  small  but  well-chosen  library, 
and  here  Winckelmann,  following  his  bent 
for  ancient  lore,  read  mostly  the  dead 
languages  in  which  he  was  almost  his  own 
teacher. 

A  short  time  after  this,  and  before  the 


28 


Angelica  Kauffmann. 


academical  year  commenced,  he  went  to  one 
of  the  BerHn  colleges,  and  there  continued 
his  studies ;  but  whether  he  found  a  teacher 
who  could  instruct  him  in  the  old  literature 
he  affected,  does  not  appear,  and  seems  un- 
likely. It  must  have  been  a  singular  and 
fragmentary  course  of  study  to  adopt ;  only 
one  scholar  had  preceded  him  on  this  path, 
and  to  him  Winckelmann  now  made  his 
way. 

This  was  Gottfried  Sellius,  the  Professor 
of  Jurisprudence  and  Philosophy  in  Halle. 
He  received  Winckelmann  cordially  and 
soon  discerned  his  merit. 

He  gave  him  the  delightful  task  of  putting 
in  order  the  Ludovizshe  library,  which — 
as  is  sometimes  the  case  with  a  body 
of  learned  men — had  got  into  the  direst 
confusion,  and  for  his  services  he  received 
the  thanks  of  the  Stadtdirektor.  From 
Halle,  Winckelmann  went  to  Dresden,  and 
became  librarian  to  the  Northentz  Library 
belonging  to  Count  Bunau.  The  years 
which  he  spent  here  were  years  of  profound 
study   which    bore    its   fruit    later.  He 


Childhood. 


29 


studied  the  commentaries  and  exercises,  and 
laid  the  foundation  for  his  wide-stretching 
knowledge  of  all  literature  which  made  him 
the  wonder  of  those  who  knew  him  in  later 
years. 

What,  however,  distinguished  him  from 
other  Librarians  was  the  quiet  firmness  or 
obstinacy  with  which  he  resisted  the  tempta- 
tion into  which  most  official  librarians  fall — 
of  being  nothing  more  or  less  than  a  walking, 
breathing  catalogue. 

In  Dresden  his  first  literary  efforts 
appeared,  and  the  result  of  his  well- 
directed  reading  was  made  evident  in  the 
manner  of  his  composition.  His  maxim 
never  to  use  two  words  when  one  would  do, 
was  here  manifested  clearly,  and  it  gave  to  his 
style  a  perfect  rhythm  and  a  dignity  mixed 
with  simplicity  which  few,  if  any,  works  of 
the  present  time  possess. 

In  the  Autumn  of  1755  he  came  to  Rome. 
He  came  poor  and  sickly,  he  had  only  a 
pension  of  two  hundred  thalers,  but  he 
brought  with  him  a  soul  of  fire,''  a  soul 
which     thirsted  for  the  really  beautiful  in 


30  Angelica  Kauffmann. 

Nature  and  in  Art,  as  a  wanderer  in  the 
desert  longs  for  a  drink  of  pure  spring 
water." 

At  the  moment  at  which  this  wonderful 
man  entered  Rome,  Art  was  nigh  to  extinc- 
tion. We  have  seen  in  what  a  hopeless  con- 
dition it  had  sunk,  and  how  the  work  of  each 
artist,  sculptor,  or  painter  went  further  and 
further  from  the  divine  original.  Winckel- 
mann  brought  new  fuel  into  the  decaying 
fire  of  genius.  He  came  fresh  from  nights 
and  days  of  ceaseless  study,  he  awoke  men 
from  their  trance  of  indifference,  and  once 
more  the  standard  of  true  art  was  raised. 
His  first  work,  the  famous  History  of  Art," 
attracted  the  attention  of  Cardinal  Albani, 
who  at  once  appointed  him  the  custodian  of 
the  art  collection  his  enormous  fortune  had 
allow^ed  him  to  amass.  It  was  the  moment 
when  Pompeii  and  Herculaneum  were  vomit- 
ing forth  Caryatides,  Vases,  Statues,  Bas- 
reliefs,  Antiques  of  all  kinds,  and  to  contain 
these  the  Cardinal  added  hall  to  hall,  build- 
ing to  building,  gallery  to  gallery,  and  still 
the  collection  grew,     It  was  one  of  the 


Childhood. 


3^ 


most  wonderful  museums  in  the  world  at 
the  time  of  the  Cardinal's  death,  and  by  its 
means  attention  was  drawn  to  Winckelmann, 
who  was  soon  acknowledged  to  be  the  ?nost 
learned  teacher  of  a  pure  ideal  in  art,  which 
is  to  be  sought  only  in  the  Greek  School  as 
it  was  developed  in  the  true  artistic  period 
called  the  Periclean. 

This  subject  is  too  deep  to  find  a  place 
here.  Moreover  it  has  been  handled  by 
able  hands,  and  is  only  introduced  now  for 
the  reason  that  Angelica's  future  was  much 
influenced  by  the  teaching  of  Winckelmann, 
which,  together  Avith  the  instruction  of 
Rafael  Mengs,^  who  was  her  master,  left 
distinct  traces  upon  her  work. 

It  was  through  the  friendly  offices  of 
Rafael  Mengs  that  the  Kauffiiianns  were 
received  into  the  inner  circle  which  congre- 
gated round  the  great  apostle.  He  had  just 
published  his  Anmerkungen  iiber  die 
Baukunst  der  Alten,"  and  it  was  this  work 

^  Anton  Rafael  Mengs.  His  name  is  spelt  by  dif- 
ferent writers  as  Raphael,  Rafaell,  and  Rafael.  I  have 
adopted  the  method  used  in  Bryan's  Dictionary,  last 
edition. 


32 


Angelica  Kmtffmann. 


which  riveted  Angelica's  attention,  and 
made  her  anxious  to  know  the  writer  and  to 
profit  by  his  instruction. 

Winckelmann,  who  was  then  forty-nine, 
was  much  taken  with  the  grace  and  talent  of 
the  young  artist,  who  sat  in  girlish  fashion  at 
his  feet,  and  listened  with  her  large  serious 
eyes  to  the  words  of  wisdom  which  fell  from 
his  lips.  The  philosopher  was  after  all  but 
a  man,  and  there  can  be  little  doubt  that 
he  fell  paternally  or  platonically  in  love  with 
his  fair  pupil. 

''It  is  pleasant,"  says  a  German  writer, 
to  form  to  oneself  a  picture  of  these  two 
students,  each  animated  with  the  same  in- 
terest, the  same  longings,  each  enjoying 
the  intimate  communion  they  held  with 
one  another — two  students  separated  by 
almost  half  a  century  of  years,  the  maiden 
of  eighteen  summers,  and  the  greybeard 
more  than  double  her  age."  A  portrait 
which  the  gifted  young  artist  painted  of 
her  beloved  master  shows  how  well  she  had 
studied  his  features  and  caught  his  expression. 
Winckelmann,  in  a  letter  to  a  friend,  mentions 


Childhood. 


33 


with  evident  pride  that  his  likeness  has  been 
painted  and  engraved  by  a  very  pretty  young 
lady." 

This  was  when  writing  to  his  friend  Franck. 
He  says,  I  have  just  been  painted  by  a 
stranger,  a  young  person  of  extraordinary  merit. 
She  excelsin  oils.  Mine  is  a  half-figureseated, 
and  she  has  herself  engraved  it  {a  I'eau  forte), 
as  a  present  for  me.  This  young  girl  is 
a  Swiss ;  her  father,  who  is  likewise  an  artist, 
brought  her  to  Italy  when  she  was  only  a 
child,  so  that  she  speaks  Italian  as  well  as 
she  does  German — as  for  German,  she  speaks 
it  as  if  she  were  born  in  Saxony.  She  ex- 
presses herself  equally  well  in  French  and  in 
English,  and  in  consequence  of  the  latter,  she 
paints  the  portraits  of  all  the  English  in  Rome. 
She  sings  so  well  that  she  stands  compari- 
soif  with  our  best  virtuosi.  Her  name  is 
Angelica  Kauffmann." 

That  her  constant  intercourse  with  the  first 
Greek  scholar  of  his  time  left  indelible  traces 
upon  Angelica  is  evident  in  all  her  future 
works.  Her  romantic  nature  naturally  in- 
clined to  the  study  of  classical  mythology, 

I) 


34 


Angelica  Kauffmann. 


or,  as  Oppermann  calls  it,  the  sentiment 
of  past  ages.''  Her  sensitive  mind  readily- 
embraced  all  the  beauty  of  the  ideal  world ; 
she  listened  to  Winckelmann's  preaching 
upon  Greek  art  and  the  glories  of  the 
Periclean  era,  until  she  became  saturated 
with  the  fables  of  mythology  and  set  up 
the  forms  of  gods  and  goddesses  as  the 
standard  of  all  merit.  From  that  time  she 
could  draw  no  face  without  giving  to  it  a 
Greek  profile,  and  this  without  regard  to 
the  circumstances  in  which  she  placed  her 
subject. 

One  of  her  critics  says,  x\ngelica  painted 
Greek  men  and  women  without  having 
the  faintest  idea  of  the  world  wherein 
they  lived,  just  as  she  drew  knights  of  the 
Middle  Ages,  with  as  little  knowledge  of 
•  the  century  which  produced  Gotz  von  Ber- 
lichingen." 

The  truth  was,  in  her  early  youth  she  was 
somewhat  superficial ;  her  imagination,  as  is 
the  case  with  many  artists,  being  more  lively 
than  her  reading  was  deep,  and  she  did  not 
remain  long  enough  under  the  care  of  men, 


Childhood, 


35 


such  as  Winckelmann  and  Mengs,  who  were 
no  flatterers,  and  would  have  in  time  cor- 
rected the  faults  which  even  her  greatest 
admirers  have  to  acknowledge  spoil  the 
beauty  of  her  pictures. 

Sternberg  is  of  opinion  that  had  she 
possessed  resolution  to  continue  the  life  of 
study  and  hard  work  she  had  begun,  she 
might  have  become,  not  a  great  or  creative 
genius,  for  such  power  did  not  lie  in  her 
scope,  but  a  very  respectable  artist,'^ 
capable  of  transmitting  to  posterity  the  new 
art  religion  ;  but  unfortunately  circumstances 
were  against  her.  Her  father,  without  in- 
tending to  injure,  spoiled  her  by  compliance 
with  all  her  girlish  whims,  and  there  was, 
besides,  the  ever-grinding  need  of  money  ;  so 
now,  when  an  offer  came  for  her  to  go  to 
Naples  and  make  some  copies  in  the  Capo- 
dimonte  gallery,  she  dared  not  refuse. 
Naples  was  crowded  with  English,  who  all 
sat  to  her  for  their  portraits,  so  that  the  trip 
was  very  profitable.  In  the  October  of  this 
same  year  she  went  to  Venice,  and  there 
made  the  acquaintance  of  Lady  Wentworth, 


D  2 


36  Angelica  Katcff^maitn. 


wife  of  the  English  Resident  at  Venice,  Mr, 
John  Murray/ 

In  the  eighteenth  century,  the  two  favourite 
amusements  amongst  the  EngHsh  aristocracy 
were  "  The  Grand  Tour"  and  Patronage/* 
No  lord  or  gentleman's  education  was  con- 
sidered complete  until  he  had  passed  the  Alps, 
studied  every  continental  vice,  bought  a  cer- 
tain number  of  pictures,  and  patronized  a 
certain  number  of  artists. 

Lady  Wentworth  loved  patronizing  ;  she 
posed  as  being  devoted  to  art.  She  was  fasci- 
nated with  Angelica,  and  insisted  on  carrying 
her  off  to  London,  assuring  her  charmingyoung 
friend  that  she  would  speedily  make  a  fortune. 
Angelica  and  her  father  listened  and  believed, 
with  the  result  that  their  plans  were  changed. 
John  Joseph  returned  to  Monbegno  to  remain 
with  his  sister  while  Angelica  accompanied  her 
patroness  to  England.    Angelica's  German 

^  This  lady  was  Bridget,  daughter  ^to  Sir  Ralph  Mil- 
banke :  she  married,  first,  Sir  Butler  Cavendish  Went- 
worth of  Howsham,  Yorkshire ;  this  gentleman  dying 
in  1 741,  she  married,  secondly,  Mr.  John  Murray  (not 
Morris  as  stated  in  the  dictionary  of  national  biography), 
his  Majesty's  Resident  at  Venice  from  1754  to  1765, 
when  he  was  appointed  Ambassador  to  Constantinople. 


Girlhood. 


37 


biographers  blame  her  for  undertaking  this 
journey.  Sternberg  talks  of  her  frivolity  in 
abandoning  substance  for  mere  shadow, 
sacrificing  her  art  for  the  love  of  pleasure,  the 
greed  of  money.  Oppermann  accuses  her  of 
forsaking  a  lover  who  would  have  made  her 
far  happier  than  any  of  the  titled  or  rich 
husbands  to  which  she  aspired. 

There  does  not  seem  any  foundation  for 
Oppermann's  insinuation  that  she  preferred 
ambition  to  happiness.  Rossi,  who  is  a  most 
faithful  biographer,  makes  no  mention  of  this 
unknown  lover,  who  in  all  probability  had  no 
existence,^  Rossi  tells  the  story  of  her  leaving 
Rome  in  the  following  words  : — 

Although  Angelica  was  much  considered 
in  Italy,  and  her  name  was  beginning  to  be 
well  known,  still  the  Italians  gave  her  but 
trifling  orders,  and  paid  her  insufficiently, 
while  strangers,  on  the  contrary,  and  the 
English  in  particular,  showed  an  immense 
predilection  for  her  paintings." 

^  Nathaniel  Dance,  the  artist,  was  her  lover  during  her 
stay  in  Rome,  but  although  she  encouraged  his  atten- 
tions, she  ultimately  refused  him. 


38  Angelica  Kaiiffmamt, 


In  the  last  century  England  was  the 
Eldorado  of  artists,  much  as  America  is  in 
the  present  day.  It  was  there  they  received 
substantial  reward  for  their  efforts ;  never- 
theless, the  German  writers  speak  most  con- 
temptuously of  the  artistic  condition  of  the 
nation. 

It  is  well  known,''  says  Sternberg,  that 
in  matters  of  art  the  Little  Island  is  of  no 
account  ;  there  are  nations  whose  voice  makes 
or  mars  the  reputation  of  painter  or  sculptor, 
but  England,  in  the  matter  of  pictures  or 
statues,  is  a  modern  Pompeii.  Whatever 
treasures  she  may  possess  she  covers  them 
with  the  ashes  of  a  cold  egotism.  They  are 
for  her — not  for  the  world,  She  has  no 
generous  desire  to  elevate  or  to  kindle  a  wish 
for  emulation.  She  collects  only  to  possess." 
He  goes  on  :  I'  The  Frenchman,  when  he 
buys  a  picture,  makes  a  great  fuss  ;  he  lets 
the  whole  of  civilized  Europe  know  what  he 
has  and  where  it  is  to  be  seen.  The  German 
ornaments  his  own  sitting-room  with  the 
work  of  art,  he  shows  it  to  his  friends,  he 
enjoys  it  himself,  his  eyes  turn  constantly  to 


Girlhood. 


39 


his  treasure,  as  do  the  eyes  of  the  lover  towards 
his  beloved.  The  Italian,  the  true  disciple  of 
art,  places  the  newly-acquired  masterpiece  in 
a  public  gallery  where  everyone  may  see  it. 
To  him  its  beauty  is  a  subject  of  devotion, 
and  this  devotion  to  be  complete  must  be 
shared  by  the  rest  of  his  countrymen.  Now 
mark  the  conduct  of  the  Englishman!  He 
locks  up  his  picture  in  his  own  gallery  under 
the  care  of  a  surly  guardian.  He  never  sees 
it  himself,  he  is  content  to  have  been  the 
purchaser,  the  one  who  has  money  enough  to 
outbid  others,  and  who  has  bought  a  very 
dear  picture.  With  this,  all  is  said  and 
done  ! 


CHAPTER  II, 


1766. 

GIRLHOOD. 

The  season  was  at  its  height  when,  on  June 
15th,  1766,  Angelica  arrived  in  London.  An 
exceptionally  brilliant  season  this,  for  only  a 
few  weeks  since  the  royal  Princess,  the  king's 
youngest  sister,  Caroline  Matilda,  of  most ' 
unhappy  memory,  had  been  wedded  to  her 
cousin  the  King  of  Denmark.  The  town, 
therefore,  was  seething  with  the  effervescence 
of  the  late  festival.  The  rank  and  fashion  of 
England  had  crowded  into  the  capital,  and 
there  was  a  going  and  coming,  and  a  deal  of 
noise  and  chatter,  and  a  general  air  of 
pleasure  and  dissipation  abroad.  Moreover, 
the  young  king  had  not  long  been  on  the 
throne,  and  his  queen,  good,  homely  Char- 
lotte, was  almost  a  girl,  albeit  already  busy 
with  the  royal  nursexy. 


Girlhood. 


41 


Lady  Wentworth  had  a  house  in  Charles 
Street,  Berkeley  Square,  and  here  Angelica 
was  in  the  way  of  seeing  the  best  society,  her 
patroness,  Lady  Wentworth,  being  a  woman 
of  fashion,  besides  a  pretender  to  the  authority 
of  a  connoisseur. 

In  the  latter  part  of  the  last  century  there 
was  growing  up  an  emulation  amongst  ladies 
of  quality,  to  be  more  than  the  toast''  at 
men's  dinners — the  Bluestocking  Club,  later 
on,  was  the  outcome  of  this  laudable  desire. 
Lady  Wentworth  was,  however,  not  to  be 
classed  with  Mrs.  Montagu,  or  even  Mrs. 
Vesey — she  was  what  Carlyle  would  call  a 
windbag.  She  knew  little  of  art,  but  talked 
a  great  deal.  She  loved  patronizing  a  rising 
artist ;  bringing  one  forward,  much  to 
his  or  her  injury,  as  her  injudicious  praises 
and  constant  flattery  were  sure  to  have  mis- 
chievous results. 

So  it  was  with  Angelica,  who  was  now 
presented  to  the  world  of  London,  heralded 
by  the  busy  tongue  of  Lady  Wentworth,  the 
lady  running  from  house  to  house  singing  the 
praises  of  her  new  protdg^e. 


42  Angelica  Kattffmmin, 


Angelica  did  not  know  this  proclivity  of  her 
ladyship,  so  she  fell  into  the  net,  and  was 
carried  about  as  my  lady's  new  favourite.  A 
hundred  years  ago  people  of  fashion  did  not 
know  what  domestic  life  by  the  chimney- 
corner  meant.  They  were,  in  a  sense,  far 
more  dissipated  than  the  butterflies  of  our 
own  time ;  they  lived  for  ever  in  society. 
There  were  no  big  crushes  or  cultivation  of 
city  millionaires  or  American  silver  kings, 
but  a  constant  give  and  take  of  invita- 
tions between  the  same  people  in  the  same 
set. 

It  took  Angelica  a  longtime  to  understand 
the  ins  and  the  outs  of  this  curious  world  into 
which  she  found  herself  so  suddenly  trans- 
ported ;  it  was  so  unlike  the  world  in  which 
she  had  hitherto  Hved,  totally  different,  even 
from  the  court  life  at  Milan,  which  was  more 
polished,  but  had  not  half  the  formality,  the 
bowing,  and  the  complimenting  which  pre- 
vailed in  England.  Angelica  was,  however, 
well  pleased  with  the  attentions  she  received. 

Shortly  after  her  arrival  in  London,  she 
wrote  to  her  father ;  her  letter  is  dated  the 


Girlhood. 


43 


nth  July,  1766  :  I  have  been  told  many  a 
time  that  the  English,  when  you  meet  them 
in  their  own  country,  are  apt  to  forget  all  the 
promises  of  friendship  which  they  made  when 
abroad,  but  I  find  this  to  be  quite  untrue, 
and  my  experience  is  altogether  opposed  to 
this  false  statement.  The  ge7itlemen  particu- 
larly are  most  kind  (molte  gentile),  and 
their  kindness  is  quite  sincere,  and,  generally 
speaking,  their  words  are  full  of  good 
sense/^ 

One  cannot  forbear  a  smile  at  this  very 
naive  confession  that  her  merits  were  more 
recognized  by  the  sterner  sex  than  by  her 
own — but  this  was  only  natural,  as  Rossi 
tells  us  that  Angelica  was  now  in  the  full 
perfection  of  her  charms.  She  was  not  a 
perfect  beauty,  but  possessed  the  most  won- 
derful attractions.  There  was  a  witchery 
in  her  sweet  blue  eyes,  and  in  the  pupil  so 
much  expression  that  one  could  almost  guess 
her  thought  before  she  spoke.' ^ 

Everyone  must  remember  how  charmingly 
she  is  described  in  the  opening  chapter  of 
Miss  Angel"  :— 


44  Angelica  Katc^mann. 

Yesterday,  at  Mr.  Colnaghi's,  I  saw  a 
print  lying  upon  the  table,  the  engraving  [by 
Bartolozzi]  ^  of  Sir  Joshua s  picture.  It  was 
the  portrait  of  a  lady,  some  five  or  six-and- 
twenty  years  of  age.  The  face  is  peculiar, 
sprightly,  tender,  a  little  obstinate,  the  eyes 
are  charming  and  intelligent,  the  features 
broadly  marked — there  is  something  at  once 
homely  and  dignified  in  their  expression — 
the  little  head  is  charmingly  set  upon  its 
frame,  a  few  pearls  are  mixed  with  the  heavy 
loops  of  hair,  two  great  curls  fall  upon  the 
sloping  shoulders,  the  slim  figure  is  draped 
in  light  folds  fastened  by  jewelled  bands,  such 
as  people  then  wore.  A  loose  scarf  is  tied 
round  the  waist.  .  . 

It  was  no  wonder  that  this  dainty  figure 
caused  a  sensation,  especially  as  her  wit 
was  sprightly,''  and  her  musical  accomplish- 
ments of  the  highest  order.  People  found  that 
the  combination  pf  beauty  and  talent,  simplicity 
and  fascination,  which  distinguished  this 
German  girl,^  was  something  quite  rare.  Soon 

^  See  Appendix. 

*  Angelica's  nationality  is  sometimes  disputed;  the 


PORTRAIT  OF  ANGELICA  KAUFKMANN. 
(After  the  painting  by  Sir  Joshua  Reynolds.) 


To  /(tee  Page  44. 


Girlhood. 


45 


she  was  the  leading  toast,  and  Fashion,  that 
capricious  dame  who  often  refuses  to  ac- 
knowledge Nature's  best  handiwofk,  pro- 
nounced for  Angelica,  and  set  her  seal,  which 
is  as  a  trade-mark  for  beauty,  upon  the  young 
artist. 

She  shared,"  says  a  contemporary  writer, 
*^with  hoops  of  extra  magnitude,  toupees 
of  superabundant  floweriness,  shoe-heels  of 
vividest  scarlet,  and  china  monsters  of  super- 
lative ugliness,  the  privilege  of  being  the  rage." 

Angelica's  letters  to  her  father  are  full  of 
the  kindness  she  received  ;  how  she  is  invited 
to  Lord  Spencer  s,  and  introduced  by  Lord 
Exeter  to  Sir  Joshua  Reynolds. 

In  July  she  writes  again  :  — 
I  have  been  to  visit  several  of  the  studios 
here,  but  there  is  none  to  compare  with  that 
of  Mr.  Reynolds.  He  is  decidedly  the  first 
English  painter.  He  has  a  peculiar  method, 
and  his  pictures  are  mostly  historical.  He 
has  a  light  pencil  or  touch  which  produces  a 
wonderful  effect  in  light  and  shade." 

Germans  and  Swiss  both  claim  her.  She  was,  however, 
only  Swiss  by  being  born  in  the  Grisons. 


46  Angelica  Kauffmann. 


This  expression  penello  volante  is  particu- 
larly appropriate,  and  shows  the  happy  turn 
of  expression  possessed  by  Angelica,  both  in 
speaking  and  writing. 

In  another  letter,  dated  October  loth,  in 
the  following  year,  she  mentions  Reynolds' 
kindness  to  her  : — ■ 

He  is  one  of  my  kindest  friends,  and  is 
never  done  praising  me  to  everyone.  As  a 
proof  of  his  admiration  for  me,  he  has  asked 
me  to  sit  for  my  picture  to  him,  and  in  return 
I  am  to  paint  his."  ^ 

Rossi  says,  Reynolds  was  indeed  full  of 
admiration  for  Angelica  s  talent,  and  for  her- 
self he  had  a  far  tenderer  feeling  than  admi- 
ration. She,  however,  only  thought  of  her 
beloved  art,  and  her  heart  was  closed  to  all 
other  passions.' 

As  with  Rossi,  so  it  was  with  all  other 
foreign  writers  who  have  occupied  them- 
selves with  Angelica's  career,  as  biographers 

^  This  compact  was  duly  carried  out.  A  picture  of 
Angelica  appeared  in  the  Artists'  Exhibition  of  1769; 
hers  of  the  painter  was  done  for  his  friend  Mr.  Parker 
of  Saltram,  in  Devonshire.  Mr.  Parker  was  raised  to 
the  peerage  in  1784  as  Lord  Boringdon,  and  in  1815 
his  son  was  created  Earl  of  Morley. 


Girlhood. 


47 


or  novelists.  They  cling  to  the  idea  of 
Reynolds'  love  for  their  charming  country- 
woman, and  her  rejection  of  his  suit.  Miss 
Thackeray  also  cultivates  this  notion,  but,  as 
a  matter  of  fact,  there  seem  to  be  no  grounds 
for  believing  that  Reynolds  ever  made  her 
a  definite  offer.  His  biographers — Malone, 
Farington,  and  Leslie — make  no  mention  of 
his  attachment — fortunate  or  unfortunate — to 
any  woman. ^  The  fact  that  she  and  Reynolds 
painted  each  other  s  portraits  was  sufficient 
for  the  gossips  of  the  day  to  couple  their 
names  together,  and  out  of  this  slender 
thread  the  romantic  story  has  been  woven 
together,  with  the  episode  of  the  great 
English  painter  going  on  his  knees  to  a  girl 
young  enough  to  be  his  daughter :  not  that 
his  so  doing  would  be  injurious  to  his  memory  ; 
one  would  be  inclined  to  like  him  better  in 
this  character  of  an  earnest  lover,  than  as  he 
was — the  most  kind-hearted  of  men,  the  best 

^  Pasquin  says,  Whether,  as  she  alleged,  Miss 
Western  had  anything  to  do  with  the  steeling  of  the 
heart  of  Reynolds  against  elegant  Angelica  cannot  be 
decided." 


48  Angelica  Kaitffmann, 

of  friends,  but  a  decided  flirt/  a  regular  old 
hand,  not  likely  to  be  caught  by  even 
Angelica  s  simplicity  and  fascination. 

Sir  Joshua  himself  said  his  heart  had 
grown  callous  from  too  much  contact  with 
beauty :  all  the  most  beautiful  women  in 
London  had  passed  under  his  pencil.  He 
had  painted  Kitty  Fisher,^  Nelly  O'Brien,^ 
and  Miss  Parsons,^  the  volatile  Bellamy,  the 
lovely  Miss  Morris/  and  the  greatest  beauty 
of  her  own  or  any  day,  Georgina,  Duchess 
of  Devonshire. 

For  all  these  ladies  the  painter  had  the  same 
half  paternal,  half  lover-like  manner,  which 
may  have  deceived  Angelica.  He  certainly 
had  great  kindliness  towards  her,  and  some 
little  tenderness,  'which  is  made  evident  by 
the  mention  of  her  in  his  note-book,  as  '^Miss 

'  His  friends  were  well  aware  of  Sir  Joshua's  foible  in 
this  direction.  'Tis  Reynolds's  way,"  says  Goldsmith,  in 
his  genial  verses  on  Dr.  Baker's  dinner. 

^  One  of  the  most  famous  Phrynes  of  the  day.  Sir 
Joshua  painted  five  celebrated  portraits  of  her. 

^  This  lady  was  in  the  same  category. 

*  The  Duke  of  Grafton  was  divorced  by  his  Duchess 
for  his  devotion  to  Nancy  Parsons. 

^  Miss  Morris  sat  for  Hope  nursing  Love,  one  of  the 
most  beautiful  of  Sir  Joshua's  portraits. 


GirlhoocL 


49 


Angel.''  One  time  he  adds,  Fiori','  as  if  to 
remind  himself  to  send  her  a  posy  ;  but  this 
would  not  be  a  convincing  proof  that  he  ever 
meant  to  make  her  his  wife.  There  is  no 
reason  to  imagine  he  ever  went  beyond 
these  safe  attentions,  neither  would  it  be 
likely  that  Angelica  would  have  concealed 
this  proposal  from  her  father  had  it  been 
made,  and  Joseph,  who  was  proud  of  his 
daughter,  would  have  told  his  friends  ;  and  so 
the  matter  would  have  been  made  public, 
which  it  certainly  was  not,  for  Rossi  does 
not  state  it  as  a  fact.  Sternberg  accuses 
Reynolds  of  the  meanness  of  being  jealous  of 
the  girl  artist.  Previous  to  her  arrival  he 
had  been,''  says  this  bitter  writer,  ''the 
oracle  in  matters  of  art,  and  finding  himself 
now  placed  in  a  secondary  position,  he  re- 
venged himself  by  pouring  words  of  false 
praise  into  her  ear,  which  the  simple  girl,  who 
did  not  know  the  world,  and  who  adored 
praise,  swallowed  as  gospel  truth.  For  the 
first  time  in  her  life  she  ignored  the  advice  of 
her  more  prudent  father.  The  old  fox, 
Joseph  Kauffmann,  knew  well  what  underlay 

E 


50  Angelica  Kauffmann, 


the  praise  and  the  admiration  of  a  rival.  He 
warned  Angelica  against  Reynolds." 

As  a  refutation  of  this  caluniny,  there  is  the 
testimony  of  a  well-known  writer  : — • 

The  most  celebrated  of  the  women  paint- 
ers," says  Mr.  John  Forster,  ''had  found  no 
jealousy  in  the  leading  artist  of  England. 
His  was  the  first  portrait  that  made  Angelica 
Kauffmann  famous  here  ;  to  him  she  owed 
her  introduction  to  the  Conways  and  Stan- 
hopes." 

There  is  a  mistake  here.  Angelica  s  first 
success  was  Arcadia";  Reynolds'  portrait 
of  her  was  exhibited  at  the  Incorporated 
Society  of  Artists  in  May,  1769,  when  her 
position  as  an  artist  had  been  assured. 
Secondly,  this  portrait  in  spite  of  its  merit 
was  not  the  best  done  of  her  by  Sir  Joshua. •'^ 

The  first  time  that  she  came  before  the 
English  public,  in  a  professional  capacity,  was 
in  1765,  the  year  before  her  arrival  in 
London,  when  mention  is  made  of  her  in  the 
exhibition  of  the  Society  of  Arts  in  Maiden 
Lane,  at  Mr.  Marengo's  rooms. 

^  She  sat  to  Reynolds  three  times,  1766,  1769,  1777. 


Girlhood, 


51 


She  is  set  down  in  the  catalogue  thus  : — 
A  portrait  of  Garrick,^  by  Miss  Kaffmann,^ 
at  Rome. 

It  was  not  a  wise  selection,  although 
her  six  years  of  travel  and  study  had 
done  much  to  improve  the  young  artist, 
and  to  ripen  the  talent  she  undoubtedly 
possessed.  It  was  a  mistake  for  one  so  inex- 
perienced to  undertake  a  subject  which  had 
baffled  more  mature  artists.  Bernstorff  says, 
*'that  even  Hogarth  failed  in  depicting 
Garrick  as  Richard  III.,  and  that  the  same 
could  be  said  of  Zoffany's  Hamlet."  It  was 
only  Reynolds  who  made  a  masterpiece  of 
his  portrait  of  the  actor,  standing  between 
tragedy  and  comedy. 

Angelica  was  more  successful  the  next 
year,^  when  she  chose  for  her  subject  one 
more  suited  to  her  peculiar  style.  A  shep- 
herd and  shepherdess  of  Arcadia,  moralizing 
at  the  side  of  a  sepulchre,  while  others  are 

^  This  must  have  been  a  copy,  as  at  this  time  she  had 
not  seen  the  actor.  It  was  a  commission  from  the  Marquis 
of  Exeter,  and  is  in  the  collection  at  Burghley.  See 
Appendix. 

The  spelling  is  that  of  the  catalogue  of  ly^S- 
*  1766,  the  year  of  her  arrival  in  London. 

E  2 


52  Angelica  Katiffmann. 

dancing  in  the  distance.  This  had  been, 
originally,  used  by  Guercino,  and  was  a 
favourite  of  Angelica's.^  She  repeated  it 
several  times,  and  always  treated  it  with 
that  grace  and  feeling  which  she  showed  in 
such  compositions.^ 

A  drawing  of  "  Arcadia is  in  the  possession  of 
Charles  Goldie,  Esq.    See  Appendix  Supplement. 

^  Sir  Joshua  used  the  same  subject  for  his  pictures  of 
Mrs.  Bouverie  and  Mrs.  Crewe. 


CHAPTER  III. 
1766,  1767, 

GIRLHOOD. 

Lady  Wentworth  falling  into  bad  health, 
Angelica  moved  from  her  house,  and  estab- 
lished herself  in  apartments  with  a  friend  of 
her  patroness  in  Suffolk  Street,  Charing 
Cross.  It  was  in  every  way  better  for  her, 
and  work  soon  began  to  flow  in.  The  friend- 
ship or  admiration  of  Reynolds  was  invalu- 
able to  her.  He  sent  her  many  sitters,  and  her 
patrons  were  amongst  the  highest  in  London. 
A  letter  to  her  father,  which  she  wrote  at  this 
time,  gives  an  interesting  account  of  her  life, 
and  the  struggle  she  had  to  keep  a  proper 
appearance  before  the  grand  world  who  had 
so  suddenly  taken  her  to  its  arms.    The  good 


^  She  died  in  1774. 


54 


Angelica  Kmiffmaitn. 


sense  and  business  capacity  which  was  re- 
markable all  through  her  life,  is  very  pro- 
minent in  this  letter,  especially  when  we  take 
the  years  of  the  writer  into  account.  Some 
people  might  say  there  was  a  certain  hard- 
ness in  her  evident  wish  to  keep  her  father 
from  joining  her  ;  but  it  must  be  remembered 
at  what  an  early  age  the  burden  of  the  family 
support  had  fallen  upon  her  shoulders,  and 
how  anxious  she  was  to  procure  a  certain  in- 
come. For  this  she  worked  when  others 
amused  themselves,  and  it  would  have  been 
suicidal  to  her  plans  if  she  had  been  saddled 
at  the  outset  with  an  expensive  household. 
That  there  was  no  want  of  affection  for  her 
father  was  proved  by  her  subsequent  con- 
duct.   There  never  was  a  better  daughter. 

A  Monsieur  Kauffmann,  Peintre,  chez 
Monsieur  Gaupp,  L*  Apoticaire  a  Lindau. 

London,  Jeu.  loth,  September,  1766. 

^ My  dearest Tather, —  I  received  your 
letters  of  the  20th  August,  as  also  of  3rd 
instant  all  right.    I  rejoice  from  my  heart 

^  This  letter  was  procured  for  the  compiler  by  Pro- 
fessor Gebhard^,  King's  Library,  Berlin. 


Girlhood. 


55 


at  the  news  that  your  health  continues  satis- 
factory ;  thank  God  !  I  am  also  in  excellent 
health.  From  your  last  I  see  that  you 
and  dear  Rosa  ^  intended  to  leave  Monbegno 
the  day  after  it  was  written.  The  thought, 
and  the  hope  of  seeing  you  rejoices  me,  and 
I  wish  it  heartily.  I  see  also,  that  without 
waiting  for  my  answer,  you  are  resolved  upon 
setting  out  on  your  journey,  and  therefore, 
that  it  is  very  uncertain  whether  this  letter 
will  reach  you.  Nevertheless,  I  cannot  re- 
frain from  giving  you  every  information  about 
this  country,  so  that  you  can  judge  what  the 
best  course  is,  whether  to  continue  your 
journey,  or  put  it  off  until  next  spring.  Be 
assured  I  am  as  anxious  to  see  you,  as  you 
are  to  see  me — but  do  not  take  it  ill  if  I  tell 
you  that  some  good,  sensible  friends  think  it 
ill-advised  of  you,  to  come  this  winter  to  Lon- 
don, and  if  you  will  weigh  well  all  the  circum- 
stances, you  will  find  it  is  not  for  our  advantage, 
as  the  expense  of  everything  here  is  enormous. 

1  am  in  a  private  house  with  excellent 
people,  old  acquaintances  of  my  lady,  who 

*  The  daughter  of  his  sister  who  afterwards  accom- 
panied him  to  England. 


56  Angelica  Kaitffmann. 


has  had  the  goodness  to  recommend  me  to 
them,  as  if  I  were  her  own  daughter.  I  have 
been  a  month  here.  The  people  of  the  house 
do  everything  for  me.  The  handy-woman  is 
a  mother  to  me,  and  the  two  daughters  love 
me  as  a  sister. 

The  opportunity  was  so  good,  and  every- 
thing suited  me  so  well,  that  I  did  not  hesitate 
to  secure  them,  and  have  taken  the  apart- 
ments for  the  whole  winter.  I  have  four 
rooms  ;  one  where  I  paint,  the  other  to  show 
my  portraits,  which  are  finished  (it  is  the 
custom  here  for  people  to  come  and  see  work 
without  disturbing  the  artist).  The  other  two 
rooms  are  very  small,  in  the  one  that  is  my 
bedroom  there  is  scarcely  room  for  the  bed- 
stead to  stand,  the  other  serves  to  keep  my 
clothes  and  trunks.  For  the  rooms  I  pay  two 
guineas  a  week,  one  guinea  for  the  keep  of  the 
man-servant,  whom  I  have  also  to  clothe  ;  this 
is  without  washing  and  other  small  expenses  ; 
but  I  could  not  dispense  with  the  servant. 

These  are  my  outgoings,  which  will  ap- 
pear to  you  very  large,  but  it  could  not  be 
less.    Should  you  determine  on  coming  this 


Girlhood. 


57 


winter,  we  must  take  a  house,  which  is  very 
hard  to  find,  and  nothing  could  be  had  under 
a  hundred  guineas  a  year,  unfurnished,  and 
to  furnish  it  would  cost  four  hundred  guineas. 
Consider  how  expensive  all  this  will  be ; 
especially  in  the  winter-time,  when  every- 
thing is  double  in  price,  the  days  twice  as 
short,  so  that  little  work  can  be  done.  You 
know  very  well  that  we  must  have  a  man  and 
a  maid.  Decorum  'reqtures  this,  for  I  am 
known  by  everyone  here,  and  I  have  to  main- 
tain a  character  for  respectability  for  the  sake 
of  my  standing  in  the  profession,  so  that 
everything  must  be  arranged  on  a  proper 
footing  from  day  to  day,  which  is  most 
necessary  if  one  wants  to  be  distinguished 
from  the  common  herd.  Ladies  of  quality 
come  to  the  house  to  visit  me,  or  to  see  my 
work.  I  dare  not  receive  people  of  their 
rank  in  a  mean  place.  My  present  apart- 
ment is  very  proper  for  the  purpose,  at  the 
same  time  as  moderate  as  can  be  had  here, 
I  would  not  do  better  by  changing.  So  long 
as  I  am  alone,  I  hope  (in  spite  of  the  expense 
I  am  at)  to  save  a  good  deal  this  winter, 


58  Angelica  Kaitffmann. 


and  when  the  summer  comes  to  make  a 
change. 

Houses  will  be  easier  to  get,  and  they 
will  be  cheaper.  There  is  another  point  which 
gives  me  uneasiness.  The  climate  is  bad, 
and  you  are  not  accustomed  to  the  air  here. 
It  is  already  late  in  the  year,  and  we  have 
dark,  foggy  days,  also  the  smoke  from  the  coal 
fires  is  most  unpleasant.  I  am  concerned  for 
your  health.  If  you  were  to  get  ill  what  a 
terrible  cross  it  would  be.  I  shall  say  no 
more.  I  fear  you  might  think  I  had  some 
other  reason,  for  wishing  you  not  to  come, 
but  no — certainly  not.  My  only  object  being 
to  avoid  under  our  present  circumstances  all 
unnecessary  expenses.  Please  God,  with 
time,  everything  will  come  right,  and  be 
settled  to  our  wishes.  I  beg  you  will  consider 
all  this  carefully,  and  do  not  act  hurriedly. 
May  God  preserve  you  in  good  health. 

I  remain  until  death  your  obedient 
daughter, 

''Angelica  Kauffmann. 
^'Address  to  Miss  Angelica  Kauffmann  at 
Mr.  Hurnes,  Surgeon  in  Suffolk  Street, 
Charing  Cross,  London." 


Girlhood. 


59 


This  sensible  remonstrance  had  the  desired 
effect,  and  Joseph  Kauffmann  put  off  his 
journey  for  this  winter.  In  the  spring  of  the 
year,  however,  we  find  that  Angelica,  who 
had  worked  hard  all  through  the  winter,  did 
fulfil  her  promise,  and  in  1767  a  house  was 
taken  in  Golden  Square,  Soho.  It  can  be 
gathered  from  this  step  with  one  so  prudent 
that  things  were  going  well  with  the  young 
artist,  and  that  money  was  coming  in. 
Whatever  we  may  think  of  Golden  Square 
as  we  hurry  through  the  now  deserted 
thoroughfare,  people  of  quality  lived  there  a 
century  ago,  and  also  in  the  mean  little 
streets  adjoining  it.  Mrs.  Delany,  during  her 
first  marriage  to  the  rich  Mr.  Pendarves  had 
a  house  in  Hog's  Lane,  Soho  ;  her  friends. 
Lady  Falmouth  and  Mrs.  Vernon,  lived  in 
Catherine  Wheel  Lane  and  Dean  Street. 
So  it  is  probable  that  Angelica  paid  at  least 
a  hundred  a  year  for  her  house — which  is 
said  to  be  one  of  the  large  ones  with  tall 
windows  at  the  corner  of  Soho  Street  ;  it  is  a 
lodging  house  now.  Except  for  the  silence 
which  has  fallen  upon  it.  Golden  Square  is 
but  little  chanored  since  Ancrelica  lived  there. 


6o  Angelica  Kauffmann. 


It  has  a  broken-down  air  of  gentility  as  of 
having  seen  better  days.  It  is  decidedly  dull, 
and  the  clerks  who  write  in  the  dingy  parlours 
of  the  business  houses  have  a  desolate  outlook 
on  the  quiet  little  square,  with  the  forlorn  dusty 
trees.  Not  even  nursemaids  come  here  now. 
But  in  Angelica  s  time  it  was  otherwise. 

Society  a  hundred  and  fifty  years  ago  was 
made  of  precisely  the  same  stuff  as  our  own 
world  of  to-day,  and  the  magic  touch  of  royal 
patronage  worked  wonders  then  as  now. 
When  it  was  known  that  the  king's  sister, 
the  Duchess  of  Brunswick,  had  sat  to  An- 
gelica for  her  portrait,^  there  was  a  rush  to 
her  studio.  Golden  Square  was  blocked  with 
carriages.  She  was  doubly,  trebly  fashion- 
able. It  was  said  that  a  young  nobleman 
got  melancholy  mad  because  she  refused  to 
paint  his  picture,  and  officers  in  the  Guards 
fought  for  a  bit  of  ribbon  or  a  flower  she  had 
worn.  One  day  a  royal  carriage  drove  up 
to  the  tall  house,  and  the  king's  mother,  the 
Princess  of  Wales,  alighted.  She  had  come 
to  see  her  Grace  of  Brunswick's  picture. 

'  This  portrait  is  in  Hampton  Court  Palace.  It  is  a  full 
ength. 


Girlhood. 


6i 


This  visit  raised  the  young  artist  to  the 
seventh  heaven  of  delight.  She  writes  to 
her  father  in  a  strain  of  exultation  : — 

Never,  oh  never,  has  any  painter  received 
such  a  distinguished  visitor." 

Every  letter,  indeed,  which  she  sends  to 
the  far-away  village  of  Schwartzenberg  is 
conceived  in  the  same  key. 

There  is  nothing  but  applause  of  my 
work  ;  even  the  papers  are  full  of  verses 
written  in  different  languages,  all  in  praise 
of  me,  and  my  pictures." 

In  another  letter  she  says, — 
I  have  finished  some  portraits  which  meet 
great  approval.  Mr.  Reynolds  is  more 
pleased  than  anyone.  I  have  painted  his 
portrait,  which  has  succeeded  wonderfully, 
and  will  do  me  credit  ;  it  will  be  engraved 
immediately.  Lady  Spenser  ^  has  paid  one 
hundred  ducats  for  her  picture.  Lord  Exeter 
is  still  in  the  country.  This  morning  I  had 
a  visit  from  Mrs.  Garrick.  My  Lady 
Spenser  was  with  me  two  days  ago.  My 
Lord  Baltemore  visits  me  sometimes.  The 
queen  has  only  returned  two  days.  As  soon 
^  The  spelling  of  the  letter  has  not  been  altered. 


62  Angelica  Kattffmann. 


as  she  is  better  I  am  to  be  presented  to  her. 
Two  days  ago  the  Duchess  of  Ancaster  came 
to  see  me.    She  is  the  first  lady  at  Court. 

This  sounds  Hke  blowing  her  own  trumpet, 
but  it  must  be  remembered  she  was  writing 
to  her  best  friend,  the  one  who  would  reflect 
her  triumphs,  and  consider  them  as  his  very 
own ;  this  would  make  a  difference  from 
ordinary  self-glorification.  There  is  also 
something  very  pretty  in  her  loving  anxiety 
to  convince  her  father  that  she  is  getting  rich. 
It  is  so  transparent  that  her  pleasure  in  this 
arises  from  no  mercenary  feeling,  but  from 
the  joyful  anticipation  that  the  time  is  at 
hand  when  she  can  provide  him  with  every 
comfort  for  his  old  age.  Every  line  of  her 
charming  letters  has  the  ring  of  true  feeling 
and  a  longing  to  have  her  home  ready  for  him. 

John  Joseph  rejoiced  exceedingly  over  his 
child's  success.  He  carried  her  letters  about 
with  him,  and  read  them  to  everyone,  until 
every  man,  woman  and  child  knew  of  the 
Princess  Dowager's  visit  and  Angelica's 
triumphs,  which,  however,  are  viewed  in  a 
different  light  by  her  biographers.    One  of 


Girlhood, 


63 


these  writes:  In  England  she  once  more 
was  the  centre  of  a  frivolous  circle,  by  whom 
she  was  again,  as  in  Milan  and  Florence,  led 
away,  only  with  this  difference.  The  rich 
aristocratic  English  were  in  a  position  to 
offer  far  greater  temptations  (especially  to  a 
luxurious  temperament,  such  as  Angelicas) 
than  the,  comparatively  speaking,  needy 
nobility  and  princes  of  Upper  Italy  and 
the  Swiss  Cantons.  The  court,  the 
nobility,  the  rich  lords  of  the  Parliament 
House,  the  owners  of  collections,  and  the 
leaders  of  fashion  and  talent  poured  th^ir 
money  into  her  hands.  She  herself  was 
amazed  at  their  lavish  generosity,  but  she 
didn't  reckon  that  her  art  was  getting  its 
death-blow.  England  was  the  platform  upon 
which  she  could  exhibit  her  sentimental  gods 
and  goddesses.  This  prudish  nation — a 
whited  sepulchre,  so  to  speak,  of  immodesty 
• — applauded  to  the  echo  the  delicacy  which 
could  handle  doubtful  subjects,^  and  yet 
know  how  to  present  them  so  as  not  to 

^  This  is  an  allusion  to  her  picture  of  Venus  attired  by 
the  Graces. 


64 


Angelica  Kauffmann. 


affront  Society's  feelings,  hurt  the  prejudices 
of  the  *  British  matron/  or  make  the  young 
English  miss  blush.  Art,  in  fact,  was  to  be 
clothed  in  a  sort  of  toilette  luxury  to  please 
the  taste  of  this  eccentric  nation,  which  found 
in  Angelica  an  artist  ready  to  gratify  its 
ridiculous  prejudices  at  the  expense  of  the 
true  principles  and  ideal  of  art  itself/' 

This  criticism  of  Sternberg  is  severe,  but 
there  is  truth  in  it.  Angelica,  surrounded 
by  admirers  and  flatterers,  was  led  away  by 
her  success,  both  social  and  professional,  and 
there  is  no  defending  her  from  another 
charge  brought  against  her,  that  of  being  a 
flirt.  An  arrant  flirt,  Mr.  Smith,  who 
does  not  mince  his  words,  calls  her, 
in  his  Life  of  NoUekens."  Another  writer 
says :  She  was  one  time  sighing  for  Mr. 
Dance,  another  time  declaring  herself  heart- 
broken for  Sir  Joshua.  She  was  never  happy 
unless  she  had  several  strings  to  her  bow.'* 

So  far  as  Nathaniel  Dance  was  in  question 
she  had  no  need  to  sigh  for  him;  he  was 
desperately  in  love  with  her,  and  had  been 
so  far  back  as   her  first   year  in  Rome, 


Girlhood. 


65 


when  there  was  some  talk  of  an  engagement, 
but  it  came  to  nothing,  much  to  Dance's 
disappointment.  He  was  an  Irishman,  an 
artist  of  considerable  merit,  and  was  now 
making  his  way  in  London.^  He  renewed  his 
suit,  but  Angelica,  being  influenced  by  Lady 
Wentworth,  who  turned  Dance  into  ridicule, 
would  not  listen  to  him.  The  artist  took  her 
rejection  and  the  manner  of  it  very  much  to 
heart,  and  it  was  under  the  smart  of  his 
mortification  that  he  painted  his  fine  picture 
of  Timon  of  Athens. 

Fuseli  was  another  lover  of  Angelica's. 
This  was  a  conquest  she  might  have  been 
proud  of.  The  young  Swiss  artist  was  already 
making  a  name  for  himself,  and  this  year  his 
portrait  of  Garrick  as  Macbeth,  and  Mrs. 
Pritchard  as  Lady  Macbeth,  had  attracted 
much  attention.  Angelica  gave  him  en- 
couragement. J.  T.  Smith  tells  of  seeing  her 
one  night  at  Drury  Lane  in  a  private  box  with 
both  Dance  and  Fuseli.  She  was  playing 
them  both  off.    Standing  between  the  two 

^  He  was  created  a  baronet  in  1797. 

F 


66 


Angelica  Kat^tj^mann. 


beaux,  she  found  an  arm  of  each  embracing 
her  waist ;  she  contrived,  while  her  arms 
were  folded  before  her  on  the  front  of  the 
box  over  which  she  was  leaning,  to  squeeze 
the  hand  of  both,  so  that  each  lover  considered 
himself  the  man  of  her  choice.  Smith 
adds,  She  should  have  remembered  Mrs. 
Peachum's  remonstrance,  '  Oh,  Polly,  you 
might  have  toyed  and  known  by  keeping 
men  off  you  keep  them  on.' 

In  the  end,  however,  Angelica  refused 
Fuseli,  also  on  the  plea  that  she  never  meant 
to  marry.  In  her  letter  to  her  father,  ac- 
quainting him  with  this  proposal,  she  says ; 

Not  so  easily  will  I  bind  myself.  Rome  is 
ever  in  my  thoughts.  May  the  Spirit  of  God 
guide  me.''  The  words  may  have  reference 
to  the  lover  in  Rome,  whom  Oppermann 
accuses  her  of  abandoning,  but  Rossi 
considers  they  signified  that  her  heart  was 
closed  against  every  passion  save  that  of  her 
art.  Her  indifference  in  regard  to  Fuseli  is 
strange.  He  was  singularly  handsome,  and 
his  wonderful  genius  would  naturally  attract 
a  girl  of  Angelica's  romantic  temperament. 


Girlhood. 


67 


The  explanation  lay  in  the  fact  that  she  was 
ambitious,  and  that  Fuseli's^  position  not  being 
assured,  and  his  poverty  great,  he  had  no 
means  of  gratifying  her  wishes/  At  this  time 
he  was  only  waiting  for  his  friends  to  secure 
him  50/.  a  year  to  go  to  Italy,  which  he  did 
shortly  after  Angelica  s  rejection  ;  her  treat- 
ment of  him  made  a  coolness  between  her 
and  her  friend  Mary  Moser. 

The  Mosers  had  been  amongst  the  first  to 
make  her  welcome,  George  Moser  having 
known  John  Joseph  in  their  early  days,  when 
both  were  struggling  artists.  Moser,  how- 
ever, had  come  when  young  to  England  as  a 
chaser  in  gold  and  painter  on  enamel,  and  was 

*  Fuseli  did  not  at  any  time  hold  Angelica's  profes- 
sional talents  in  high  esteem  ;  his  criticism,  however,  has 
a  touch  of  bitterness,  which  smacks  of  the  despised  lover. 

have  no  wish,"  he  says,  **to  contradict  those  who 
make  success  the  standard  of  genius — and,  as  their 
heroine  equals  the  greatest  names  in  the  past,  suppose 
her  on  a  level  with  them  in  power.  She  pleased,  and 
desired  to  please,  the  age  in  which  she  lived,  and  the 
race  for  which  she  wrought.  The  Germans^  with  as 
much  patriotism  at  least  as  judgment,  have  styled  her  the 
*  Paintress  of  the  Soul '  (Seelen  Mahlerin),  nor  can  this 
be  wondered  at  for  a  nation  who,  in  a  Raphael  Mengs, 
flatter  themselves  that  they  possess  an  artist  equal  to 
Raphael  the  divine." 


68 


Angelica  Kauffinann. 


well  considered,  being  on  friendly  terms  with 
all  the  leading  artists  and  directors  of  the  draw- 
ing school  in  Maiden  Lane.  He  received  the 
child  of  his  old  friend  warmly,  and  Angelica 
was  quite  at  home  in  St.  Martin's  Lane, 
where  the  Mosers  lived.  Here  she  met 
Fuseli,  for  whom  the  daughter  of  the 
house,  Mary,  had  a  warm  attachment,  un- 
fortunately not  reciprocated,  Mary  being  a 
plain  little  person,  but  a  kind,  sensible  girl. 
A  skilful  artist  too — her  flower  groups  were 
exquisite  in  finish  and  most  elegant  in  ar- 
rangement.  Her  work  was  in  great  demand, 
Queen  Charlotte  patronizing  her  largely, 
and  for  her  she  painted  a  room  at  Frogmore, 
which  was  called  the  Flower-room. 

Angelica  and  Mary  Moser  were  close 
friends  until  this  affair  of  Fuseli.  They  met 
often  at  the  house  of  Nollekens,  the  eccentric 
kindly  sculptor.  He  was  very  partial  to 
both  the  girls,  especially  Mary,  who  confided 
to  him  her  love  for  Fuseli.  Angelica  painted 
Mrs.  Nollekens  as  Innocence,  with  Doves," 
for  which  she  received  fifteen  guineas. 

Other  friends  of  hers  were  theGarricks  (who 


Girlhood. 


69 


often  welcomed  her  to  their  pretty  villa  on  the 
Thames),  Doctor  Fordyce,  D.D.,  and  his 
brother  James,  and  a  host  of  others  too 
numerous  to  name. 

Amongst  the  lovers  report  gave  her,  was 
a  younger  son  of  the  ducal  house  of  Devon- 
shire, but  although  he  may  probably  have 
admired  her,  there  was  nothing  definite 
in  his  admiration,  else  Rossi  would 
have  surely  made  mention  of  the  circum- 
stance. It  is,  however,  woven  into  a  German 
novel, ^  which  also  represents  a  Lady  Sarah 
Cavendish  as  being  in  love  with  the  artist, 
Antonio  Zucchi,  her  death  being  caused  by 
the  struggle  between  her  love  and  her  pride. 
This  improbable  story  would  seem  to  have 
no  foundation.  The  two  brothers,  Antonio 
and  Joseph  Zucchi,  were  struggling  artists  : 
Antonio,  a  correct,  but  rather  uninteresting, 
painter  of  large  architectural  designs;  Joseph, 
an  engraver  of  much  excellence.  The  story 
that  Antonio  was  at  this  period  a  lover  of 
Angelica  s  seems  likewise  to  have  no  founda- 
tion. 

^  Historical  novel  by  Amalie  Schoppe.  The  whole 
story  as  regards  the  Cavendish  family  is  pure  fiction. 


70 


Angelica  Kauffmann. 


In  the  early  part  of  1767  Angelica  had 
the  happiness  of  welcoming  her  father, 
who,  henceforth,  remained  with  her  until 
his  death,  many  years  later.  John  Joseph 
brought  with  him  Rosa  Florini,  his  sisters 
daughter,  to  be  a  help  and  companion  to 
Angelica.  He  did  little  to  assist  the  establish- 
ment. Any  artistic  talent  he  may  have  had, 
had  long  since  departed,  although  he  still 
continued  to  paint,  and  his  pictures  were  ex- 
hibited.^ He  was  rather  a  pompous  old  man, 
much  inflated  by  his  daughter  s  success.  He 
spent  most  of  his  time  arranging  the  house  and 
studio  for  the  reception  of  the  distinguished 
sitters  and  patrons,  who,  as  was  the  fashion 
in  those  days,  had  free  euMe,  and  lounged 
away  whole  mornings  in  an  artist's  studio. 

This  year  Angelica's  popularity  seemed  on 
the  increase.  She  was  presented  at  Court,  and 
Royal  commissions  were  showered  on  her. 

^  His  paintings  are  mostly  Scriptural  in  subject.  His 
Joseph  sold  to  the  Ishmaelites,"  and  "Joseph  telling 
his  Dream,"  were  engraved  by  Godby.  They  will  be  found, 
together  with  some  sickly  abominations  called  "  The 
Affectionate  Sister,''  and  the  Afflicted  Mother,"  in  the 
fine  collections  of  the  engravings  from  Angelica's  pictures 
in  the  British  Museum. 


Girlhood. 


Queen  Charlotte  sat  to  her  with  a  baby  prince 
on  her  knee.  King  Christian  III.,  of  Den- 
mark, who  was  this  year  in  London,  also  sat 
to  her.  Walpole  said  that  he  was  as  diminutive 
as  if  he  came  out  of  a  kernel  in  a  fairy  tale. 

Rossi  holds  forth  at  great  length  upon 
Angelica's  method  in  portrait  painting ;  how 
she  sought,  not  only  to  make  a  reproduction 
of  the  features,  but  also  to  convey  to  her 
canvas  a  general  idea  of  the  character,  as 
she  conceived  it,  of  her  sitter,  and  for  this 
purpose  gave  much  time  and  consideration 
to  each  person  who  came  to  her.  There  is 
no  doubt,  as  an  eminent  authority  tells  us, 
that  the  effect  of  a  fine  portrait  emanates 
more  from  the  painter  than  from  the  sitter. 
This  gift  of  imparting,  if  we  may  so  call  it, 
comes  to  its  best  where  there  is  a  subtle 
harmony  between  the  painter  and  model. 
Reynolds  possessed  a  faculty  of  establishing 
such  a  harmony  to  a  wonderful  extent.  All 
the  people  he  paints,"  says  Leslie,  '^seem 
irradiated  by  something  of  the  amiability, 
breeding,  and  sense  of  the  artist. 

So  too  with  Angelica.      She  gives,"  says 


72  Angelica  Kauffmann. 


a  contemporary,  to  her  portraits  much  of 
her  own  grace  and  dignity/'  The  Biograpkie 
Universelle  remarks  ''upon  the  elegance  of  her 
draperies,  which  are  never  confused,  and  the 
attitude  which  is  always  well  chosen,  although 
her  figures  are  often  wanting  in  strength  of 
colour  and  vigour  of  touch." 

The  Allgemeine  Biograpkie  says,  She 
excelled  in  portraits." 

Another  German  art  critic  remarks :  "In 
her  portraits  she  shows  undoubted  talent  ; 
they  are  full  of  merit.  She  not  only 
produces  a  faithful  likeness,  but  gives  mind 
and  vitality  to  the  picture,  as  for  example  in 
her  portrait  of  Winckelmann." 

Oppermann,  in  his  Bregenzer  Wald," 
devotes  many  pages  to  criticism  of  Angelica's 
style.  He  says  :  *'The  principal  character- 
istics of  her  work  are  facility,  clearness,  and 
great  ability  in  the  treatment  of  the  subject, 
and  no  artist  of  her  time  was  possessed  of 
as  much  taste  and  feeling,  which,  when  it 
was  not  betrayed  into  an  exaggeration  of 
sentiment,  was  tender  and  noble." 

Angelica  s  strange  predilection  for  classical 
and  mythological  subjects,  and  the  treatment 


Girlhood. 


73 


of  sitters    in   allegorical  forms,  has  often 
been  commented  on.    In  regard  to  the  first 
it  was  no  doubt  the  outcome  of  Winckel- 
manns   teaching,    and   the    next  was  not 
always  a  matter  of  personal  choice.    In  the 
latter  portion  of  the  eighteenth  century  there 
was  a  craze  for  mythalogy ;  the  knowledge  of 
"  the  gods  of  the  heathen "  possessed  by 
women  of  that  day  would  astonish  many  an  art 
student  of  our  time.    Their  letters  and  diaries 
are  full  of  classical  allusions  and  quotations 
from  Virgil,  and  nothing  pleased  them  so 
well  as  to  be  handed  down  to  posterity  as 
Vestals,   Sibyls,  in    fact,  in  any  shape  but 
their   own.    Angelica  perhaps  lent  herself 
to  this  fashion  more  than  any  other  artist, 
for  the  reason  that  it  was  her  taste.    It  was 
a  false  taste,  however ;  portraiture  was  not 
to  be  dignified  by  transforming  ladies  of  the 
eighteenth  century  into  heathen  goddesses, 
and  investing  them  with  the  attributes  of  the 
Pantheon.    Angelica,  however,  was  by  no 
means  the  only  artist  who  pandered,  so  to 
speak,  to  the  fancy  of  her  sitters,  very  few 
having  the  courage  to  resist  this  classical 
mania. 


74  Angelica  Kauffmann. 

We  find  Reynolds  one  of  the  chief  offenders. 
He  has  handed  down  Lady  Sarah  Bunbury 
sacrificing  to  the  Graces,"  the  Duchess  of  Man- 
chester as  Diana/'  Mrs.  Blake  as  Venus," 
Mrs.  Hall  as  Euphrosyne,"  and  other  ladies 
of  fashion,  masquerading  as  goddesses. 
Neither  was  he  successful  in  his  mytho- 
logical portraits,  and  not  even  his  grace  of 
design  and  beauty  of  colouring  could  conceal 
the  affectation  of  the  whole  idea. 

Where  Angelica,  however,  failed  most  was 
in  the  large  canvases,  upon  which  she  ex- 
hausted her  invention,  reproducing  the  eternal 
histories  of  heathen  mythology.  Eneas,  Ulys- 
ses, Hector,  Menelaus,  Telemachus,  repeat 
themselves  with,  it  must  be  owned,  weari- 
some fidelity.    Some  of  these  are  dreadful ; 

wishy-washy  canvases,"  Leslie  calls  them — 
her  heroes  look  like  girls  dressed  up  as  men. 
Her  figures  are  full  of  indecision,  and  their  feet 
never  seem  to  take  a  firm  grasp  of  the  ground. 

This  indecision  is  especially  remarkable 
in  scenes  of  passion,  which  for  the  rest  she, 
as  a  rule,  avoided.  Forster,  the  German 
critic,  says,     Her  composition  of  a  large 


Girlhood. 


75 


picture  is  weak.  Her  imagination  not  having 
sufficient  strength,  and  its  predominate  feature 
being  softness,  her  tenderness  often  degene- 
rates into  sentimental  sweetness.'^  He,  how- 
ever, forgets  that  sentiment  was  the  feature 
of  the  century  in  which  she  Hved,  when  every 
one  went  about  with  cambric  handkerchiefs 
weeping  over  dead  asses/'  There  was,  how- 
ever, no  affectation  in  AngeHcas  sweetness, 
it  bore  the  stamp  of  sincerity. 

To  the  rigid  prudery  of  the  time  in 
which  she  lived,  was  due  the  want  of  know- 
ledge of  the  anatomy  of  the  human  form, 
which  is  so  often  brought  against  her.  No 
woman  student  was  then  allowed  access  to 
the  Life  Schools.  I  have  never  seen,'^ 
says  Pasquin,  the  works  of  any  female  who 
could  draw  the  human  form  correctly,  their 
situation  preventing  them  from  studying  nu- 
dities.'^ He  adds,  in  direct  contradiction  to 
the  Biographie  Universelle^  that  her  draperies 
were  erroneous,  and  were  copied  from  the 
old  expedient  of  the  French  School,  of  clothing 
the  lay  figure  with  damp  brown  paper. 

It  is  not  the  place  here  to  say  how  far  art 


76  Angelica  Kauffmann. 

should  dominate  decorum.  Whether  the 
withdrawal  of  all  the  barriers,  which,  in 
Angelica's  time,  hedged  in  a  woman  student 
and  prevented  her  from  occupying  the 
same  position  as  a  man  (since  her  ignorance 
was  always  sure  to  cause  some  crying  fault 
in  the  anatomy  of  the  human  body), 
although  a  gain  to  art,  is  compensated 
by  the  loss  of  the  modesty  which  is  a 
woman's  charm,  is  a  question  for  individual 
opinion.  We  have  seen  many  changes  as  to 
women's  rights  within  the  last  fifty  years, 
surely  none  greater  than  the  latitude  allowed 
to  them  in  such  matters. 

The  Biographie  Universelle  says  '*That 
Angelica  s  pencil  was  always  faithful  to  the 
highest  aim  of  real  art,  and  to  the  character 
of  her  sex  ;  she  never  painted  but  the  most 
chaste  imaginations."  On  the  other  hand, 
her  propriety  sometimes  verged  on  prudery  ; 
as  when  in  the  moral  emblem  of  Mercy 
and  Truth  "  ^  she  clothes  Truths  whose  very 
attribute  is  its  nakedness.  She  explains  this 
proceeding  in  a  fly-leaf : 

To  avoid  the  unnecessary  indelicacy  of 

^  Moral  Emblems,  a  series  published  by  George  Taylor. 


Girlhood. 


77 


representing  Truth  naked,  I  have  clothed  her 
in  white,  as  significant  of  Purity. 

On  another  occasion,  being  commissioned 
by  a  lady  to  paint  a  naked  figure,  she  refused 
on  the  score  of  indelicacy,  but  executed  a 
most  charming  picture  of  a  nymph  surprised 
when  about  to  bathe,  the  figure  being  en- 
veloped in  a  gauze  veil. 

Angelica's  enemies  set  about  malicious 
stories  as  to  her  affected  propriety,"  asserting 
that  while  protesting  so  much  she  attended 
the  Life  Schools  dressed  as  a  boy,  and  that 
in  private  she  drew  from  a  naked  male  model. 

Mr.  J.  T.  Smith  was  at  the  trouble  to  go 
into  this  latter  invention,  and  in  his  Life  of 
Nollekens^'  says  that  he  found  the  man, 
Charles  Cramer,  then  82  years  of  age,  who 
told  him  he  had  often  sat  to  Mrs.  Kaufifmann, 
but  that  she  had  only  drawn  from  his  arms 
and  shoulders. 


CHAPTER  IV. 


1767. 

MARRIAGE. 

There  was  in  London  at  this  time  (1767),  a 
man  of  handsome  exterior,  of  brilHant  accom- 
plishments, of  sufficient  education,  and  of 
most  agreeable  manners,  who,  under  the 
name  of  Count  Frederick  de  Horn,  repre- 
sented himself  as  being  the  head  of  a  dis- 
tinguished Swedish  family.  He  was,  in  fact, 
the  valet  of  the  gentleman  whose  part  he 
undertook  to  play,  and  his  knowledge  of  the 
family  circumstances  which  he  had  thus 
gained,  and  of  which  he  knew  how  to  take 
advantage,  enabled  him  to  carry  out  the 
deception  so  perfectly,  that  no  one  who  met 
him  for  a  moment  suspected  the  deceit,  and 


Marriage. 


79 


he  passed  in  the  very  best  society.  He  had 
every  appearance  of  wealth  and  rank,  drove 
a  splendid  equipage,  wore  fine  jewels,  and 
scattered  money  about  with  all  the  air  of  a 
nobleman,  so  that  he  gained  an  easy  credit 
everywhere. 

The  count  lodged  at  Claridge's.  He  had 
two  footmen  behind  his  coach  dressed  mag- 
nificently in  green,  but  he  was  never  known 
to  invite  any  friend  to  his  table. 

It  was  at  Dr.  Burney's,  in  St.  Martin's 
Lane,  that  Angelica  first  met  this  adventurer, 
who  at  once  singled  her  out  as  an  object  of 
admiration. 

His  handsome  face  and  fine  figure,  his 
charming  manners,  together  with  his  profes- 
sion of  the  Catholic  faith,  inclined  Angelica  to 
receive  his  attentions  with  great  favour. 
He  came  very  often  to  Golden  Square,  and 
he  conducted  his  wooing  with  such  reserve 
and  apparent  devotion  as  to  win  his  way  to 
her  heart,  for  she  was  strangely  hard  to  woo. 
He  was  quick  enough  to  perceive  the  advan- 
tage he  had  gained,  and,  seizing  a  favourable 
moment,  he  declared  his  love,  asked  her  to 


8o 


Angelica  Kauffmann. 


be  his  wife,  and  promised  to  divide  all  his 
large  fortune  between  her  and  her  father,  to 
whom  he  would  be  the  tenderest,  the  most 
obedient  of  sons — he,  who,  by  his  own 
account,  was  possessed  of  distinguished 
birth,  great  military  honours,  immense 
riches,  castles,  picture  galleries,  and  magni- 
ficent jewels. 

Deceived  by  the  general  belief  in  him, 
Angelica  never  for  a  moment  doubted  his 
words,  and,  when  he  added  that  in  a  few 
days  he  would  seek  her  father  and  formally 
demand  her  hand  in  marriage,  Angelica 
was  fully  convinced,  and  agreed  to  his 
condition  that  until  these  days  had  elapsed, 
she  would  keep  their  engagement  secret. 
The  reason  he  gave  was  plausible — he  was 
expecting  papers  which  he  wished  to  lay 
before  John  Joseph. 

The  villain  left  her  satisfied,  but  Angelica 
was  only  so  for  a  short  time.  The  idea  of 
concealing  so  important  a  matter  from  her 
father,  tormented  her  tender  heart  and 
alarmed  her  delicate  conscience.  She  man- 
aged, however,  to  silence  this  monitor  by 


Marriage.  8 1 


assuring  herself  that  her  father,  when  he 
knew  the  extraordinary  good  luck  which  had 
come  to  her,  would  pardon  her  the  momen- 
tary want  of  confidence  ;  and  the  more  she 
saw  of  her  lover,  the  more  she  was  fully  con- 
vinced of  the  nobility  and  generosity  of  his 
mind,  the  more  she  trusted,  esteemed,  and 
even  loved  him. 

One  day  the  scene  changed. 

Pale,  agitated,  full  of  grief,  he  comes  to 
Angelica,  who,  on  her  side,  alarmed  and 
trembling  at  what  is  going  to  happen,  asks 
him  what  is  the  matter. 

Alas  !  it  is  a  political  affair.  His  absence 
from  his  estates  in  Sweden  and  from  the 
royal  court  has  given  offence.  His  enemies 
have  been  busy,  they  have  prejudiced  his 
friend  the  king  against  him ;  they  have 
calumniated  him  and  persuaded  his  Majesty 
that  he  is  engaged  in  a  conspiracy  against 
the  royal  life,  and  orders  have  come  to  the 
Swedish  ambassador  at  the  British  Court  to 
arrest  him.  Therefore,  they  must  separate, 
and  more — he  is  to  be  loaded  with  chains, 
branded  with  dishonour,  and  sent  back  to  his 

G 


82  Angelica  Kattffmaiin. 


native  land  to  perish  there  an  innocent  victim 
sacrificed  to  the  tongue  of  the  detractor. 

Angelica,  shuddering  at  this  terrible  picture, 
implores  her  noble-minded  hero  to  fly  at  once, 
but  he  refuses. 

Then,  after  a  minute's  pause,  he  goes  on 
pleading  as  for  his  very  life, — 

Only  one  hope  is  there  of  saving  me— 
only  one  refuge  is  for  me — in  thy  arms,  my 
angel — reach  me  thy  hand  as  my  wife.  Once 
a  holy  bond  unites  me  to  thee,  I  am  certain 
the  royal  family  who  love  you  and  esteem 
you  will  not  give  up  your  husband,  or  allow 
him  to  be  carried  away  to  prison  and  certain 
death.  If  I  escape  now,  all  will  go  well.  I 
am  innocent,  and  once  I  am  free  and  in 
another  country,  I  will  defend  myself,  I  will 
bring  my  accusers  to  shame,  and  triumph 
over  them,  and  it  will  be  to  you  that  I  shall 
owe  my  happiness — my  life — but  there  is  not 
a  moment  to  lose,  either  you  make  me  your 
husband  at  once  or  I  am  a  lost  man." 

This  is  Rossi's  account  of  an  interview 
at  which  the  words  quoted  may,  or  may 
not,  have  actually  been  spoke  nbut  there  is 


Marriage,  83 

every  evidence  to  show  that  great  pressure 
was  brought  to  bear  on  the  unfortunate  girl 
to  induce  her  to  consent  to  a  secret  marriage. 

It  was  unlike  her  to  do  so  ;  the  upright- 
ness of  her  character,  her  love  for  her 
father,  her  respect  for  herself,  were  all 
against  her  doing  anything  clandestine  ;  on 
the  other  hand,  she  was  romantic  and — 
a  curious  anomaly — decidedly  ambitious.^ 
Both  these  tendencies  pulling  at  her  heart- 
strings, inclined  her  to  yield  to  her  lover's 
wish,  and,  by  so  doing,  secure  to  herself 
the  rank  and  wealth  she  desired.  These 
motives  swayed  her  ;  that  there  was  much 
love  is  to  be  doubted,  although  the  romance 
of  the  situation  may  have  somewhat  touched 
her  heart. 

By  the  22nd  of  November  Horn  had  made 

everything    ready,   and    in    the  morning 

Angelica  met  him  at  St.  James's  Church 

in    Piccadilly,  .and  was   there   married  to 

him   safe   and   sure    by   the    curate,  Mr. 

Baddeley.^    How  the  supposed  count  got 

^  Zucchi  writes  of  her — ''^  Ambition  is  her  faults 
^  The  certificate  is  to  be  seen  in  the  vestry  book  at 
St.  James's  Church. 

G  2 


84  Angelica  Kattffmann. 


over  all  the  difficulty  of  being  a  foreigner,  how 
he  evaded  producing  baptismal  certificates, 
etc.,  is,  like  everything  else  in  this  hideous 
marriage,  shrouded  in  mystery.  He  had 
two  witnesses,  Annie  Horne  and  Richard 
Horne.    Who  were  they  ? 

It  must  have  been  a  melancholy  ceremony. 
How  Horn  must  have  started  at  every  sound 
in  the  empty  church!  How  he  must  have 
dreaded  that  out  of  some  corner  an  accusing 
voice  would  be  heard  denouncing  his  dastardly 
fraud  upon  the  innocent  girl  beside  him. 

Rossi  does  not  seem  to  have  known  of  the 
marriage  at  St.  James's.  He  makes  mention 
only  of  their  going  secretly  to  a  Catholic 
Church  ^  not  far  from  Golden  Square,  where 
an  imprudent  priest  blessed  a  union  which  was 
no  union,  without  witnesses  or  proper  for- 
malities. In  stating  this,  Rossi  evidently 
was  not  aware  that  in  England,  in  1767,  the 
penal  laws  against  Roman  Catholics  were  in 
full  force,  and  that  it  was  strictly  illegal  for 
any  priest  to  marry  two  people  of  his  own 

1  Probably  that  of  Spanish  Place,  as  stated  by  Miss 
Thackeray. 


Marriage. 


85 


faith ;  such  an  act  was  punishable  with  death 
in  his  case,  and  imprisonment  in  theirs. 

It  would  be  a  question  whether,  as  the 
supposed  De  Horn  and  Angelica  were  both 
foreigners,  this  law  could  have  applied  to 
them,  but  it  is  evident  she  was  determined  to 
be  on  the  safe  side.  The  visit  afterwards  to 
the  Catholic  Church  (if  it  did  take  place)  was 
a  salve  to  her  conscience,  which  was  delicate 
in  matters  of  her  faith. 

The  deed  being  done,  Angelica  returned 
to  Golden  Square,  as  she  fondly  imagined, 
the  Countess  Frederick  de  Horn,  and  after 
this  Rossi  says  the  supposed  count  seemed 
to  recover  his  serenity.  The  pressing  danger 
vanished,  he  talked  no  more  of  the  conspiracy 
against  him,  but  he  confided  to  his  newly- 
made  wife  that  neither  the  papers  he  ex- 
pected nor  the  money,  which  was  a  large 
sum,  had  come  to  hand,  and  that  in  conse- 
quence he  was  much  pressed  by  impudent 
creditors.  What  should  a  loving  wife  do 
but  help  her  husband,  and  this  Angelica  did 
gladly,  without  even  a  doubt  that  all  he  said 
was  true.    So  three  weeks  glided  by,  no 


86  Angelica  Kauffmann. 


one  suspecting  that  they  were  man  and 
wife. 

At  last,  either  at  the  bidding  of  others  or 
because  he  deemed  it  was  now  time  to  play 
his  last  card,  Horn  thought  the  moment  had 
come  to  disclose  to  the  miserable  father  of 
the  girl  he  had  deceived  the  true  state  of 
affairs.  He  did  not,  however,  care  to  make 
the  announcement  himself ;  he  sent  an  old 
priest  to  break  the  news,  which,  when  he 
heard,  so  overwhelmed  and  crushed  John 
Joseph  that  he  lost  the  power  of  speech,  and 
for  some  minutes  could  not  articulate.  He 
was  a  man  who,  good  and  honourable  him- 
self, could  not  easily  believe  others  to  be 
knaves,  and  the  deception  practised  upon  him 
hurt  him  sorely ;  moreover,  he  had  some 
doubts  that  this  great  count  was  not  all  he 
appeared  to  be,  and  he  feared  for  the  happi- 
ness of  his  beloved  child,  without  exactly  ap- 
prehending the  abyss  into  which  she  had 
fallen  through  her  own  fault.  He  was  filled 
with  the  deepest  anxiety,  and  could  not  be 
pacified  by  all  the  good  priest  said  until 
he  saw  his  daughter.  Angelica  came  trem- 
bling, and  threw  herself  at  her  father  s  feet  ; 


Marriage. 


87 


he  reproached  her  bitterly  for  her  con- 
duct, and  pointed  out  to  her  the  danger  she 
had  run  by  trusting  herself  to  a  man  of 
whom  neither  he  nor  she  knew  anything 
definite.  Angelica  acknowledged  her  fault, 
but  would  hear  nothing  against  her  husband. 
She  had  grown  fond  of  him  in  these  weeks. 
Nevertheless,  her  words,  as  quoted  by  her 
biographer,  have  not  the  true  ring  of  affection 
in  them,  but  have  rather  a  worldly  matter- 
of-fact  flavour. 

You  doubt,  my  good  father,  as  to  whether 
my  husband  is  the  nobleman  he  represents 
himself  to  be,'^  she  s:iid  ;  in  such  a  case  our 
marriage  would  be  null  and  void,  for  it  is  only 
under  these  conditions  that  I  have  united 
myself  to  him." 

At  these  words  the  priest  and  the  father 
looked  at  one  another,  pitying  Angelica's 
simplicity.  She,  however,  never  ceased  con- 
soling and  persuading  John  Joseph,  until  he 
at  last  brightened  up  and  consented  to  receive 
the  count.  Angelica  was  now  happy,  she 
led  her  husband  proudly  to  her  father,  and 
looked  at  these  two  both  so  dear  to  her  with 
eyes  swimming  in  joyful  tears.    Horn  stayed 


88  Angelica  Kauffmann. 


with  them,  and  when,  later  on,  his  father-in- 
law  began  to  make  inquiries  as  to  what 
proof  he  could  give  as  to  the  reality  of  his 
position  and  fortune,  he  turned  off  the  con- 
versation, saying  that  the  joys  of  the  honey- 
moon should  not  be  disturbed  by  any  such 
worldly  conversation. 

In  the  meantime,  the  fact  that  Angelica 
was  married  began  to  ooze  out  amongst 
her  own  circle.  There  was,  curiously  enough, 
at  this  moment  a  run  of  singular  marriages,^ 
so  that  hers  did  not  excite  any  particular 
attention,  but  her  friends  took  the  alarm  and 
were  filled  with  apprehension  as  to  the  true 
position  of  the  man  she  had  married. 

During  the  days  that  followed  the  narrowest 
investigations  were  made  about  him,  and  the 
opinion  grew  that  he  was  an  adventurer,  if 
not  worse.  The  inquisition  to  which  his  past 
life  was  subjected  did  not  remain  long  con- 
cealed from  the  Count,  and,  as  he  dreaded  the 
inquiry,  he  thought  fit  to  put  on  a  mask  of 
virtuous  indignation.    His  anger  was  prin- 

^  That  of  Lady  Susan  Strangways  to  O'Brien  the 
actor,  and  another  lady  of  quality  to  her  footman. 


Marriage. 


89 


cipally  directed  against  his  wife's  father. 
He  forbade  Angeh'ca  to  hold  any  communi- 
. cation  with  him.  He  drove  away  all  her 
friends,  and  finally  ordered  her  to  pack  up 
her  things  and  prepare  to  leave  London  with 
him  immediately  ;  the  town  no  longer  suited 
him  as  a  residence,  and  it  was  part  of  her 
wifely  duty  to  obey  him  and  ask  no  questions. 

Angelica  was  aghast.  Was  this  furious,  ill- 
mannered  man  the  soft-spoken  lover  of  a  few 
weeks  ago  ?  His  brutality  frightened  her. 
His  dislike  to  her  unoffending  father  raised 
a  storm  in  even  her  tranquil  breast  ;  his 
conduct  to  her  best  friends  made  her  indig- 
nant. 

She  refused  to  go  with  him  and  quit  the 
home  and  the  certain  income  she  had 
made  for  an  uncertainty,  for  it  did  not  seem 
to  her  he  had  any  visible  means  of  support- 
ing her.  This  contumacy  on  the  part  of  the 
usually  gentle  Angelica  excited  the  rage  of 
Horn  still  more  ;  he  threw  off  his  mask  and 
showed  the  wretched  girl  his  true  ruffianly 
nature.  In  her  alarm  and  misery  she  seized 
the  first  opportunity  to  tell  her  father,  and 


90  Angelica  Kauffmann. 


implored  him  to  help  her.  Poor  John  Joseph 
appealed  to  his  friends.  One  of  these,  who  had 
been  himself  taken  in  by  the  Count,  whose 
warm  friend  he  had  been,  took  upon  him  to 
demand  an  explanation.  He  wTOte  to  Horn, 
telling  him  the  injurious  suspicions  that  were 
gaining  ground  against  him,  and  demanded 
from  him  as  a  man  of  honour  a  written  con- 
tradiction of  them.  The  letter  was  couched 
in  rather  a  threatening  tone. 

Deceit  and  cowardice  are  closely  allied. 
The  Count  answered  in  fear  and  trembling,  but 
his  shifting,  double-dealing  reply  confirmed 
rather  than  allayed  the  suspicions  against  him. 
The  letter  was  shown  to  Angelica  by  her  father, 
and  plunged  her  into  still  deeper  grief,  and 
when  Horn,  growing  more  and  more  tyrannical, 
insisted  upon  his  rights  as  a  husband,  she  sum- 
moned all  her  courage,  and  refused  to  leave 
her  father.  She  showed  him  the  letter  in 
which  he  defended  himself  from  the  accusa- 
tions made  against  him,  adding,  that  until  he 
cleared  himself  from  all  suspicion  of  being 
an  impostor  she  would  live  apart  from 
him, 


Marriage, 


91 


You  wish  for  a  separation/^  he  cried  in  a 
fury  ;     then  you  shall  have  it.'' 

Then  he  burst  out  in  threats,  shrieks, 
violence  of  all  kinds,  which  soon  brought 
old  Kauffmann  to  the  assistance  of  his  child, 
when  the  ruffian,  seizing  a  purse  full  of  gold, 
took  his  hat  and  flung  out  of  the  house, 
crying  out, — 

You  will  soon  know  who  I  am,  and  you 
will  both  repent  the  rough  treatment  you 
have  given  me." 

The  two  poor  creatures  remained  all  that 
day  trembling  from  the  effect  of  that  terrible 
scene.  They  were  in  hopeless  despair,  not 
knowing  what  he  would  next  do.  Their 
despair  increased  when  the  night  passed  with- 
out his  return,  and  again  the  following  day. 
It  was  not  his  absence  that  caused  them  un- 
happiness,  it  was  the  dread  of  what  so  wicked 
a  man  might  be  hatching  against  them. 

After  three  days  spent  in  anxious  uncer- 
tainty, on  the  fourth  came  a  lawyer's  clerk 
in  the  name  of  Count  Horn,  to  demand 
from  Angelica  instant  submission  to  his 
wishes,  since  he,  as  her  husband,  had  a 


92  Angelica  Kauffmann. 


legal  right  over  her  and  all  she  possessed, 
otherwise  he  would  press  for  a  deed  of 
separation  and  demand  compensation  to  the 
amount  of  500/. 

Angelica  was  quite  cured  of  even  the 
lukewarm  liking  she  had  for  him,  she  saw 
that  it  would  be  impossible  for  her  to  live 
with  such  a  villain.  She  grasped  at  the  idea 
of  a  separation,  but  neither  she  nor  her  father 
were  inclined  to  reward  the  other^s  successful 
villainy  with  so  much  of  her  hardly-earned 
money.  She  was  advised  to  have  recourse  to 
the  law.  The  cause,  however,  took  the  usual 
tedious  course.  Proofs  had  to  be  collected, 
searches  to  be  made  into  the  career  and 
episodes  of  the  false  count,  and,  as  much  of 
his  life  had  been  spent  abroad,  messengers 
had  to  be  despatched  to  almost  every  court 
in  Europe. 

Pending  the  outcome  of  these  inquiries,  the 
villain  set  the  seal  to  all  his  former  turpitude 
by  an  attempt  to  carry  off  Angelica  by 
violence.  He  got  together  some  cut-throats, 
had  carriage  and  horses  in  readiness,  hired  a 
vessel,  and  except  by  a  dispensation  of  Provi- 


Marriage. 


93 


dence,  through  which  his  designs  were  dis- 
closed, Angelica  would  undoubtedly  have 
falfen  into  his  hands. 

From  this  time  (although  Horn  was  bound 
over  under  strong  penalties  to  respect  his 
wife's  person  and  liberty)  Angelica  lived  in 
constant  fear  of  him.  She  dreaded  what 
might  befall  her  if  once  in  his  power  ;  she 
knew  that  he  wore  on  his  finger  a  ring  which 
contained  poison,  and  she  did  not  think  he 
would  scruple  to  use  it. 

Meantime,  from  divers  sources,  information 
from  abroad  and  depositions  were  coming 
in,  all  containing  evidence  of  a  rascally 
history. 

One  set  proved  the  different  names  which 
he  had  taken  in  different  places  ;  another  the 
titles  and  dignities  he  had  given  himself ; 
this  one  related  how  he  had  extorted  money 
on  false  pretences  ;  another  how  he  had  con- 
tracted debts  to  keep  up  a  splendid  appear- 
ance. All  went  to  prove  an  unbroken  course 
of  swindling.  There  came  news,  too,  of  his 
having  married  another  woman,  who  was  with 
him  in  the  year  1765,  when  he  resided  at 


94  Angelica  Kauffmann. 


Hildesheim,  and  gave  himself  out  as  a  colonel 
and  lieutenant  of  Frederick  the  Great. 

In  Hamburg,  at  the  Hague,  in  Breslau 
and  other  towns,  he  was  well  known,  and  al- 
ways as  an  adventurer  with  the  worst  repu- 
tation. At  Amsterdam  he  had  gone  by  the 
name  of  Studerat,  in  other  places  he  called 
himself  Rosenkranz.  Brandt  was  the  only 
name  to  which  he  had  any  right.^ 

This  consensus  of  accusation  and  the  ac- 
cumulation of  evidence  that  came  pouring  in 
from  every  side  made  the  Count  tremble. 
He  began  to  think  it  were  best  to  abate  his 
demands  and  get  clear  off  with  what  money 
he  could  extract  from  his  victim.  He  there- 
fore again  approached  Angelica  with  an  offer 
of  a  compromise.  To  this  her  friends,  and 
especially  the  magistrate  before  whom  the 
process  would  come,  objected  very  strongly, 
advising  her  to  make  no  terms  with  such  a 
villain,  but  to  have  him  properly  punished  for 
his  shameful  conduct  in  her  regard. 

Angelica,  undecided,  now  listened  to  the 

^  When  he  was  Count  Horn's  footman  he  went  by  the 
name  of  Buckle. 


Marriage.  95 


firm  counsels  of  the  magistrate,  and  again, 
when  the  process  seemed  to  stretch  away  in 
the  distance,  was  inclined  to  put  an  end  to 
this  torturing  delay  and  agree  to  Horn's 
proposal.  He  was  now  limiting  his  demand 
to  300/.,  and  agreeing  to  sign  a  legally  drawn- 
up  document,  wherein  he  bound  himself  to 
abandon  all  his  rights  as  a  husband  and  to 
leave  Angelica  absolutely  free,  never  seeking 
to  renew  any  intercourse  or  hold  any  com- 
munication with  her. 

Angelica  at  last  consented  to  sacrifice  the 
money  for  the  sake  of  peace.  She  naturally 
preferred — as  any  sensitive  woman  would  do 
— this  method,  to  exposing  to  the  world  all 
the  miserable  details  of  her  unfortunate  con- 
nection with  this  man. 

On  the  loth  of  February,  1768,^  this  docu- 

^  The  deed  of  separation  is  signed  with  Horn's  real 
name,  Brandt,  which  was  the  one  he  had  a  right  to  call 
himself ;  his  mother,  Christina  Brandt,  had  been  seduced 
by  Count  De  Horn,  while  she  was  serving  as  a  maid  in  an 
inn.  The  count  may  have  taken  the  boy  and  brought 
him  up  in  his  own  household,  which  was  very  often  done 
with  natural  children,  and  this  would  account  for  his 
gentlemanlike  manners  and  his  likeness  to  the  Horn 
family.  It  is  also  probable  that  it  was  thus  he  got  hold 
of  the  coveted  articles  and  the  jewels  which  cast  such  a 


g6  Angelica  Kauffmann. 


ment,  which  was  to  give  her  her  freedom 
from  the  persecution  of  a  villain,  was 
signed,  and  so  ended  this  miserable  busi- 
ness, four  months  after  the  marriage, 
three  of  which  Horn  had  spent  out  of  the 
house,  which  he  had  quitted  on  the  day  of 
the  quarrel. 

Rossi  goes  on  to  tell  of  an  extraordinary- 
incident  which  took  place  on  the  same  day 
upon  which  Angelica's  release  was  signed, 
and  which,  he  says,  would  have  appeared  too 
improbable  for  any  stage  piece. 

A  respectable  person  came  to  Angelica 
and  disclosed  to  her  the  fact  that  the  Count 
was  already  married  to  a  girl  in  Germany, 
and  had  deserted  her,  leaving  her  in  the  ut- 
most poverty  ;  and  that  this  girl  was  intending 
to  come  to  London  if  only  she  had  the  means 
to  pay  for  the  voyage.  This  discovery,  if  true, 
invalidated  the  second  marriage,  and  several 
persons  tried  to  persuade  Angelica  to  bring 
the  real  wife  to  London.  Others  advised  her 
by  no  means  to  give  herself  the  expenses  and 

glamour  over  poor  Angelica.  It  is  more  than  likely  that 
he  stole  them. 


Marriage. 


97 


anxiety  of  a  trial,  and  these  wiser  counsels 
prevailed.  Angelica  from  the  first  was  ad- 
verse to  any  publicity  which  could  be  avoided, 
and  it  did  not  take  her  long  to  decide  upon 
leaving  the  matter  as  it  was  ;  '  for,'  said  she, 
'  if  the  count  has  been  guilty  of  this  offence, 
and  if  his  guilt  is  proved,  he  will  be  sentenced 
to  death,  and  if  I  should  be  the  cause  of  this, 
I  should  never  know  a  moment's  happiness. 
No,  the  spirit  of  revenge  and  anger  dwells 
no  longer  in  my  breast,  and  although  he 
has  injured  me,  and  it  may  be  has  betrayed 
me,  I  leave  his  punishment  in  God's  hands. 
Never  speak  his  name  to  me  again.'  A 
wise  resolution,"  says  her  biographer,  wise, 
pious  and  good,  which  did  her  under- 
standing as  much  credit  as  her  heart,  for 
there  is  no  doubt,  in  the  end,  the  dragging 
of  Horn  into  the  mire  of  contumely  would 
have  thrown  a  certain  stain  upon  the 
woman  who  had  shared  his  name  for  some 
months. 

Meantime  the  soi-disant  count  had  made 
good  his  escape,  and  never  more  was  heard 
of  until  news  came  many  years  after  of  his 

H 


98 


Angelica  Kctu^mann. 


death.  Who  or  what  he  was  must  always 
remain  a  mystery.  Rossi  adds,  I  have  lin- 
gered long  over  this  sad  story,  but  I  think  it 
only  just  to  Angelica  to  contradict  the  many 
'  fables '  spread  abroad.  What  I  have  now 
related  has  been  told  to  me  by  the  father  of 
Angelica,  who  suffered  keenly  from  the  dis- 
grace which  had  fallen  undeservedly  on  his 
loved  child,  and  who  wrote  down  accurately 
the  true  history. ^' 

John  Thomas  Smith,  in  his  Memoirs," 
tells  the  story  of  Horns  detection  in  a 
different  manner. 

After  the  marriage, he  says,  Angelica 
was  sent  for  to  Buckingham  House  to  paint 
Queen  Charlotte.  She  communicated  her 
marriage  to  her  Majesty,  upon  which  she 
was  invited  to  Court  and  her  husband  also. 
He,  however,  kept  out  of  the  way,  saying  his 
luggage  had  not  arrived.  At  last  the  real 
Count  Horn  arrived  in  London,  and  at  the 
levee  was  much  surprised  at  being  congratu- 
lated by  the  queen  upon  his  marriage,  when 
it  all  came  out." 

In     Miss  Angel  "  this  incident  is  made 


Marriage.       "  99 


use  of  in  a  very  pretty  scene  between  the 
queen  and  the  artist.  However  well  suited 
for  the  purposes  of  a  novel,  there  is  no  truth 
in  the  story,  neither  does  it  appear  that  a  real 
Count  Horn  did  make  his  appearance  on  the 
scene.  The  whole  business  is  involved  in  a 
strange  mystery,  out  of  which  it  is  difficult  to 
grasp  any  tangible  facts  beyond  that  of  the 
false  marriage. 

Putting  aside  his  share  in  Angelica's  story, 
Horn's  career  was  one  of  the  most  singular 
instances  of  audacious  swindling.  It  was  the 
age  for  adventurers.  Every  court  in  Europe 
swarmed  with  them ;  every  minister  used 
them  as  instruments,  and  supplied  them  with 
money  and  credentials.  Handsome,  agree- 
able men,  with  good  manners,  were  in 
request,  as  they  were  certain  to  have  bonnes 
fortunes,  and  much  could  be  expected  from 
the  favour  of  a  great  lady.  Horn,  or  Brandt, 
rather  answers  to  this  description,  and  the 
splash  he  made,  the  fine  horses  and  footmen, 
the  best  hotel,  and  the  splendour  of  his  own 
appearance,  would  lead  one  to  think  he  had 
some  other  means  besides  the  jewels  he  was 

H  2 


lOO 


Angelica  Kauffmann. 


supposed  to  have  stolen.  But  why  did  he 
not  seek  the  favour  of  some  great  lady  ? 
He  moved  in  the  best  society,  and  must 
have  known  many  women  better  suited  to 
his  purpose  than  Angelica.  The  Kauffmann 
household  was  not  appointed  in  a  style  to 
deceive  a  man  of  Brandt's  experience ;  he 
must  have  guessed  that  all  he  could  possibly 
expect  was  a  share  of  the  girl  artist's 
earnings. 

What,  then,  was  his  motive  ?  Love,  per- 
haps (who  can  say  ?),  and  that,  knowing  the 
dignity  and  purity  of  Angelica's  nature, 
he  saw  no  way  of  making  her  his  but  by 
going  through  an  apparently  legal  marriage 
ceremony. 

But  there  is  another  view  of  the  subject, 
which  one  finds  set  forth  by  several  German 
and  French  writers. 

Wurzbach  says  :  The  suspicion  of  having 
a  hand  in  this  unpleasant  affair  fell  upon 
Reynolds.  It  is  true  that  later  on  he  made 
a  lame  attempt  at  clearing  himself,  and  gave 
an  explanation  to  Angelica.    All  the  same  just 


Marriage. 


lOI 


as  it  remains  a  riddle  how  much  Reynolds 
had  to  do  with  this  melancholy  history,  so  he 
also  remains  under  a  certain  imputation  of 
having  a  share  in  the  matter.'^ 

Sternberg  is  even  more  plain  spoken.  He 
says:  '  Le  Manuel  des  Curieux  et  des 
Amateurs  des  Beaux  Arts '  speaks  of  a 
conspiracy,  which  was  set  on  foot  in  London, 
against  the  artist.  The  writer  does  not 
mention  names,  for  the  reason  that  the 
source  is  nasty.  Angelica  herself,  in  the 
public  papers,  addressed  a  letter  to  the 
editor  of  the  Beaux  Arts/'  denying 
there  was  any  truth  in  these  assertions. 
From  other  sources  of  information,  how- 
ever, there  is  not  the  smallest  doubt  that 
this  contemptible  mystification  was  planned 
for  the  humiliation  of  the  artist,  and  that 
Reynolds  had  a  hand  in  the  game.  Whether 
it  was  he,  or  a  friend  of  his^  an  artist,  who 
had  proposed  for  Angelica  and  been  refused, 
it  is  enough,  that  out  of  revenge,  these  two 
concocted  the  plot  to  disgrace  her.  There 
then  appeared  this  man,  who  called  himself 


I02  Angelica  Kauffmann. 


Count  Horn,  and  who  gave  himself  out  for  a 
distinguished  Swede.  He  pretended  to  be 
an  art  patron,  and  spent  considerable  sums 
in  buying  pictures.  A  handsome  man,  a  rich 
man,  a  count,  Angelica  could  not  resist. 
The  poor  woman  suffered  cruelly  ;  the  spring 
of  her  life  was  dried  up  ;  she  loved  and  had 
been  betrayed.^' 

Nagler,  in  his  ''Notice"  of  the  artist  in 
vol.  ii.,^  mentions  this  story  in  the  ''  Manuel 
des  Curieux,"  also  Angelica's  letter.  The 

Biographie  Universelle  "  says  : — Des  Bio- 
graphies ont  accuse  Reynolds  d' avoir  prepare 
ce  complot  et  initie  ce  malheureux  a  son  role 
pour  se  venger  des  dedains  d' Angelique,  mais 
ce  ne  fut  pas  certain."    The  same  charge  of  a 

complot"  is  made  either  distinctly  or  hinted 
at  in  every  biographical  notice  ;  in  Dohme's 

Kunst  u.  Kunstler,"  ^  in  Hoeffer's  Nou- 
velle  Biographie,"  and  the  Biographie 
Contemporaine,"  in  Wurzbach's  Lexicon, 
also  in  Leon  de  Wailly's^  historical  novel. 

^  Kiinstler  Lexicon. 
^  Article  on  Angelica,  by  J.  Wcissley. 
^  Schoppe  also  and  Desalles-Regis  wrote  novels  on 
this  subject.    The  latest  addition  to  fiction  is  Mr.  Du- 


Marriage. 


103 


But  if  this  story  were  true,  how  does  it 
happen  that  Reynolds'  biographers  (friendly 
or  unfriendly)  are  silent  as  to  such  grave 
charges,  of  which  they  must  have  been  aware, 
had  this  letter  from  Angelica  in  the  Beaux 
Arts  "  ever  appeared  ?  And  again,  how  is  it 
that  the  gossips  of  the  day,  the  news  writer, 
Horace  Walpole,  and  the  garrulous  Boswell, 
make  no  allusion  to  a  bit  of  scandal  too 
delightful  to  be  omitted?  It  would  seem 
that  when  the  original  accusation  was  made 
in  the  Manuel  des  Curieux  et  des  Beaux 
Arts,"  edited  by  Huber  and  Rast,  a  French 
edition  was  published  contemporaneously 
with  the  German  one.  For  the  purpose  of 
this  biography,  both  editions  have  been  closely 
searched  for  either  accusation  or  letter,  but 
without  success.  It  may  be  that  they  ap- 
peared in  a  first  edition  and  have  been  sup- 
pressed. 

Putting  aside  the  well-known  character  of 
our  great  painter,  which  would  make  such 
an  accusation  incredible,  it  is  not  possible  to 

bourg's  play  "  Angelica,"  which  is  soon  to  be  given  at 
one  of  the  leading  theatres. 


I04  Angelica  Kauffmann. 


suppose  that  after  treachery  of  this  kind 
he  would  have  remained  a  fast  friend  of 
Angelica's  to  the  end  of  his  life,  heaping 
favours  upon  her  and  her  family.  If  con- 
spiracy there  were,  and  many  circumstances 
would  lead  one  to  this  hypothesis,  it  would 
lie  more  probably  at  the  door  of  Nathaniel 
Dance,  and  his  friend  Nathaniel  Hone.-^ 
Danc^e,  as  we  know,  had  loved  and  been 
rejected  by  Angelica,  and  had  taken  the 
manner  of  her  rejection  much  to  heart,  and 
his  Celtic  blood  would  lead  him  to  revenge 
himself  upon  the  woman  who  had  not  only 
refused  but  ridiculed  him. 

His  friend  and  fellow-countryman,  Hone, 
was  a  despicable  character,  envious  of  other 

^  Hone  and  Dance  were  both  Irishmen ;  Dance  was 
the  most  successful  artist.  He  recovered  from  his  disap- 
pointment^ married  the  widow  of  a  Hampshire  gentleman 
with  a  good  fortune,  was  a  member  of  parliament^  and 
was  created  a  baronet.  He  was  a  vain  man,  and  gave 
out  that  Angelica  refused  Sir  Joshua  because  she  was 
attached  to  himself.  In  the  Records  of  my  Life/'  by 
John  Taylor,  the  author  talks  of  Mrs.  Kauffmann's 
correspondence  with  Dance,  which  was  thought  so 
interesting,  that  his  Majesty  George  III.  asked  to  see  it.'' 
Taylor,  however,  is  not  reliable  authority,  and  there  is 
no  reliance  to  be  placed  upon  this  story. 


Marriage.  105 

artists,  cordially  disliked  by  them.  Smith 
says  he  was  jealous  of  Reynolds,  and  lost  no 
opportunity  to  defame  him  ;  the  dislike  be- 
tween them  began  in  their  school  days,  and 
culminated  in  the  ugly  transaction  of  The 
Conjurer  "  later  on.  There  would  be  every 
probability  that  such  a  nature  as  Hones 
might  have  planned  the  outrage  on  Angelica, 
for  the  purpose  of  throwing  dirt,  if  he  could, 
upon  Sir  Joshua.  In  addition  to  which.  Hone 
had  a  personal  dislike  to  Angelica,  based 
upon  her  greater  success  as  an  artist. 

Rossi,  from  whom  the  account  given  here 
of  Angelica's  betrayal  is  principally  collected, 
speaks  of  the  reports  and  fables  in  circula- 
tion at  the  time,  which  Angelica  had  not 
the  courage  to  contradict ;  and  for  this 
reason,  he  adds,  he  has  thought  it  right  to 
communicate  to  the  public  the  facts  which 
were  left  to  him  in  writing  by  the  good 
father  of  Angelica,  who  had  suffered  infinitely 
from  his  daughter  s  misfortune. 

This  would  seem  very  conclusive  that 
John  Joseph  had  never  heard  of  the 
Reynolds  conspiracy,  or,  if  he  had,  counted 


io6  Angelica  Kauffmann. 

it  amongst  the  fables.  It  has,  however,  been 
thought  better  to  mention  in  this  biography 
the  accusations  so  freely  made  abroad, 
which,  up  to  the  present  time,  have  gone 
without  contradiction,  thus  leaving  a  slur 
upon  the  memory  of  a  great  artist  and  an 
honourable  gentleman. 


CHAPTER  V. 
1768-1771. 

WOMANHOOD. 

After  Horn's  final  withdrawal  a  hopeless 
calm  settled  down  upon  Angelica's  life. 
There  was  nothing  more  to  fear,  but  to  a 
sensitive  nature  like  hers  the  bare  idea  that 
everyone  was  in  possession  of  what  had 
happened  must  have  been  mental  torture. 
She  bore  her  trial  bravely,  and  by  degrees 
her  work,  and  the  sympathy  of  her  friends, 
who  were  never  weary  of  showing  her  kind- 
ness, mitigated  her  pain,  although  the  wound 
never  healed. 

Rossi  says  that  the  strangeness  of  her  un- 
merited misfortune,  together  with  the  esteem 
in  which  she  was  held,  caused  her  to  receive 


io8  Angelica  Kauffmann, 


numerous  offers  of  marriage  from  men  in  the 
highest  positions.  Angelica,  however,  shud- 
dered at  the  name  of  a  second  engagement, 
and  before  she  could  have  accepted  any  pro- 
posal of  marriage,  she  must  have  gone 
through  a  painful  trial  to  prove  that,  for 
various  reasons,  her  first  union  was  invalid, 
and  from  this  publicity  she  shrank. 

Angelica  now  threw  herself  into  work 
with  almost  feverish  energy.  Her  brush 
was  always  in  her  hand.  Money  was  much 
needed  in  Golden  Square.  Horn's  demands 
had  swept  away  all  her  savings,  and  there 
were  the  heavy  expenses  of  the  legal  pro- 
ceedings to  be  met.  Angelica's  friends 
behaved  generously.  Orders  came  flowing 
in.  Her  good  patron.  Lord  Exeter,  ordered 
pictures  by  the  yard.  Lord  Spencer,  too, 
gave  her  commissions,  and  the  good-natured 
king  ^  sat  for  his  portrait,  although  this  was 

^  It  will  be  remembered  by  readers  of  Miss  Angel'' 
that  Angelica  (after  the  discovery  of  Horn's  conduct) 
goes  to  Windsor  to  paint  the  portrait  of  the  king.  Miss 
Thackeray  popped  her  heroine  into  the  house  of  Dr. 
Starr,  a  Master  at  Eton,  Curiously  enough,  this  proved 
to  be  the  very  house  where  had  lived  her  father's  great 


Womanhood. 


109 


an  honour  he  had  not  yet  paid  to  Reynolds. 
With  all  this  amount  of  work  in  hand,  she 
cultivated  assiduously  her  literary  and  musical 
talents,  both  of  which  were  of  a  high  order. 
In  music  she  excelled,  her  voice  being  of  a 
delicious  quality.^  Her  mind  was  highly 
cultivated,  and  all  through  her  life  she  en- 
joyed the  friendship  of  those  who  were  dis- 
tinguished in  the  artistic  or  literary  world.^ 

Count  Bernsdorff,^  the  Danish  Prime  Min- 
ister, who   was  this  year  visiting  London, 

grandfather,  Rev.  Dr.  Thackeray^  who  was  assistant 
master  of  Eton  in  1746,  and  later  became  Archdeacon 
of  Surrey.  There  is  in  the  family  a  tradition  that  one  of 
his  daughters  was  attached  to  Antonio  Zucchi. 

^  She  would  run  to  the  harpsichord  and  sing  all  manner 
of  national  airs. 

Rossi  says  her  love  for  men  of  letters  did  not  spring 
in  any  way  from  vanity  or  a  wish  to  be  considered  a  bas 
bleu,  but  from  a  true  appreciation  of  the  beautiful;  so 
much  so,  that  when  she  read  an  elevated  passage  or  heard 
some  eloquent  discourse,  her  eyes  would  light  up  and  her 
whole  countenance  show  how  moved  she  was. 

^  Count  Bernsdorff,  the  friend  and  companion  of 
Frederick  Prince  of  Wales,  returned  to  Copenhagen 
after  the  death  of  the  Prince  and  became  Minister.  He 
was  a  clever  statesman  and  accomplished  man.  He  did 
as  much  for  Denmark  as  Bismarck  did  for  Germany.  A 
handsome  obelisk  just  outside  Copenhagen  is  erected  to 
his  memory. — Sturz's  Biographic. 


1 10  Angelica  Kauffmann. 

gives  in  one  of  his  delightful  letters  a  descrip- 
tion of  a  visit  he  paid  her ;  it  is  full  of  in- 
terest, and  is  dated  September  15th,  1768, 
just  six  months  after  Horn's  betrayal  : — 

I  found  our  gifted  countrywoman  yester- 
day with  Klopstock's  '  Messiah '  in  her  hand. 
Pope's  '  Homer'  lay  upon  the  table  near  her. 
She  reads  both  with  perfect  ease,  but  natu- 
rally the  German  poet  is  nearest  her  heart. 
She  was  born,  if  I  remember  right,  in  Bre- 
genz,  and  went  to  Italy  when  quite  young, 
associating  there  and  ever  since  with  the  very 
best  people,  artistic  and  social.  This  always 
makes  a  distinct  impression,  in  early  youth 
especially,  and  she  is  now  both  in  her  art  and 
herself,  in  her  manners  and  mind,  quite  on  an 
exceptional  platform.  She  has  a  peculiar  and 
most  womanly  dignity  which  inspires  the 
utmost  respect.  She  is  about  twenty-seven, 
by  no  means  a  beauty,  nevertheless  extremely 
attractive.  The  character  of  her  face  belongs 
to  the  type  Domenichino  loved  to  paint,  the 
features  are  noble,  the  expression  sweet.  It 
would  be  impossible  to  pass  such  a  face  with- 
out looking  at  it,  and  once  you  have  looked 


Womanhood. 


Ill 


you  must  admire,  and  there  are  moments 
when  she  is  absolutely  beautiful :  thus  when 
she  is  seated  at  her  harmonica  singing  Per- 
golesi^s  'Stabat  Mater/  her  large  expressive 
eyes,  ^  pietosi  a  riguardar  a  mover  parchi,' 
are  piously  raised  to  Heaven,  and  her  inspired 
look  helps  the  expression  of  the  divine  words. 
At  this  moment  she  is  a  living  St.  Cecilia. 
Alas  !  that  so  much  beauty  and  such  talent 
should  have  failed  to  secure  for  this  gifted 
woman  any  measure  of  happiness.  The 
sadness  of  her  whole  air  betrays  an  inward 
discontent  which  is  the  consequence  of  her 
unfortunate  marriage  which  has  ended  in  a 
separation.  The  whole  story  is  pitiful,  and 
this  misfortune  has  spoiled  her  life.  She  is 
a  great  favourite  here,  and  has  a  reputation 
as  an  eminent  artist.  This  truly  British  word 
at  once  guarantees  a  fortune  ;  Angelica,  how- 
ever, is  too  modest — she  does  not  sufficiently 
assert  herself,  for  an  eminent  artist  can,  in 
this  rich  capital,  use  her  admirers  much  as  a 
selfish,  money-seeking  coquette  does  her 
lovers,  plunder  and  ill-treat  them,  without  fear 
of  a  rupture  ;  the  passion  of  the  nation  being 


112  A  ngelica  Kauff^nann. 

to  fill  the  pockets  of  their  favourite,  no  mat- 
ter whether  he  be  an  artist,  or  a  hair-dresser, 
Farinelli,  or  a  conjurer." 

Angelica,  not  having  left  any  note-books  as 
Reynolds  did,  it  is  impossible  to  know  the 
scale  of  her  prices.  Fifteen  guineas  is  men- 
tioned by  J.  T.  Smith  as  the  price  paid  for  a 
portrait  of  Mrs.  Nollekens.^  A  hundred  years 
ago  all  artistic  and  literary  work  was  in- 
differently paid.  Goldsmith  received  sixty 
pounds  for  the  Vicar  of  Wakefield  ;  Ho- 
garth one  hundred  for  the  Lady's  last 
stake  ;  Zoffany  two  hundred  for  Abel 
Drugger'^  ;  and  it  was  only  when  his  name 
was  at  its  highest  that  Reynolds  was  paid 
1 50  guineas  for  a  full-length  portrait. 

Angelica's  rapid  method  of  painting 
enabled  her  to  execute  more  work  than  most 
artists.  She  drew  hurriedly,  putting  in  the 
costumes  and  figures  with  her  pencil  before 
she  took  the  palette  in  her  hand,  trusting  very 
much  to  the  delicate  combination  of  colour, 
for  which  she  was  famous,  to  conceal  the 
false  outlines  into  which  there  is  no  denying 
^  As    Innocence,  with  Doves.'* 


Womanhood. 


she  was  often  betrayed.  Her  colouring  has 
been  the  subject  of  very  diverse  opinions. 
Bernsdorff  says  she  played  strange  tricks  with 
her  carnation,  and  that  her  shadows  are 
overdone.  Rossi  maintains  she  was  equal 
in  colouring  to  the  old  masters.  Oppermann 
thinks  her  draperies  are  too  highly  tinted,^  her 
background  too  monotonous.  At  the  time 
it  was  thought  she  used  a  secret  preparation, 
which  gave  her  tints  this  extraordinary 
brilliance,  but  in  her  later  pictures  she 
subdued  her  colouring  to  a  great  degree. 

George  Keate,  her  friend  and  admirer, 
wrote  an  absurd  pamphlet  addressed  to  the 
lovely,  the  adorable,  the  beloved  Angelica, 
in  which  he  ascribes  her  miraculous  colouring 
to  a  magician  who  has  given  her  a  powder 
from  Egypt's  distant  shore.  He  believes 
Cheops  and  Rhodope  eire  proud  to  minister 
to  her  glory.  Nitocris  will  shine  again  in 
her  delineation  of  a  virtuous  monarch,  and 
Cephenes  will  blacken  with  his  dark  pigment 
some  villain's  face  which  her  chaste  pencil 

^  A  writer  in  the  Art  /o2irnal  of  1890  criticises  what 
he  calls  this  vinous  tone,  which  is  decidedly  unpleasant. 

I 


114  Angelica  Kauffmann. 


abhors  to  paint."  He  covers  pages  with  this 
nonsense. 

Notwithstanding  her  secret,  Angelica's 
colours  have  not  been  lasting.  In  some  in- 
stances they  have  faded  more  than  others, 
but  this  is  also  noticeable  in  Sir  Joshua's,  and 
can  be  accounted  for  by  the  different  varnishes 
and  mediums  used,  some  of  these  being 
deleterious  to  the  preservation  of  the  work. 

The  year  1768  was  a  memorable  one  in 
the  history  of  Art  in  England.  It  was 
then  that  the  scheme  of  founding  a  Royal 
Academy,  which  had  long  been  in  agitation, 
took  actual  shape,  and  the  institution  which 
is  now  such  a  yearly  point  of  interest  to  both 
public  and  artists  had  its  birth. 

Its  process  of  incubation  had  been  a  try- 
ing one.  So  far  back  as  171 1,  Sir  Godfrey 
Kneller,  then  at  the  head  of  the  profession 
of  arts,  made  the  attempt,  and  failed  ;  Thorn- 
hill  later  established  a  makeshift  academy 
or  school  of  art  at  his  own  house.  This 
lame  effort  was  followed  by  the  Life  School 
under  George  Moser,  and  when  this  was 
joined  by  such  men  as  Hogarth,  Cotes,  and 


Womanhood. 


115 


other  artists  of  standing,  it  migrated  first  to 
St.  Martins  Lane,  and  in  1759  opened  rooms 
in  Pall  Mall. 

Still  all  felt  even  this  improved  position 
did  not  answer  the  purposes  of  a  National 
Academy.  Efforts  were  strenuously  made 
to  induce  the  royal  sanction  to  be  given,  to- 
gether with  a  proper  grant.  The  proclivities 
of  the  House  of  Hanover,  however,  had  never 
been  artistic.  George  I.  was  too  fond  of  his 
mistresses,  and  George  H.  had  his  hands 
full  of  his  quarrels  with  his  son  and  his 
ministers. 

The  struggle  still  went  on  ;  the  Society, 
with  gallant  spirit,  exhibiting  annually  a 
number  of  pictures  which  were  excellent  in 
work  and  drew  large  crowds  of  visitors.  At 
last,  in  1765,  the  Society  wrung  from  the 
Government  a  charter  of  incorporation,  and 
the  right  to  call  itself  ''The  Society  of  In- 
corporated Artists/'  Having  attained  this 
measure  of  success,  the  spirit  which  had 
been  so  admirable  died  out. 

Constant  disputes  arose  amongst  the 
members ;  jealousies,  private  warring,  until 

I  2 


ii6  Angelica  Kauj^mann, 

the  cohesion  of  the  Society  became  impossible. 
A  split  followed — Chambers,  Moser,  West, 
Cotes,  being  included  amongst  the  mal- 
contents. The  result  was  the  starting  of  a 
new  art  society  upon  totally  different  lines, 
the  professed  object  being  to  found  an 
academy  of  design  for  the  instruction  of 
students  with  an  annual  exhibition  which 
should  contain  the  work  of  the  academicians. 
Pressure  was  brought  to  bear  on  George  III., 
who  had  at  first  received  the  scheme  coldly, 
but  later  offered  to  supply  from  his  private 
purse  any  money  deficiency  and  to  give  the 
academy  a  royal  sanction.^  This  enabled 
the  members  to  offer  prizes  to  the  students 
and  to  bestow  annuities  on  such  as  were 
promising. 

With  these  advantages  the  new  constitu- 
tion was  easily  formed  under  the  title  of 

^  The  generosity  of  the  king  was  much  commended  by 
the  journals  of  the  day.  The  Advertiser  bursts  into 
enthusiastic  praises  in  verse  : — 

Long  had  Britannia  sighed  for  such  a  king, 
When  George  arose  and  bade  her  Muses  sing ; 
Called  Genius  forth  from  Contemplation's  cell, 
And  drew  up  Wisdom  from  her  sacred  well." 


Womanhood. 


117 


^*  The  Royal  Academy."  Reynolds  at  first 
held  aloof,  not,  as  unfriendly  writers  allege, 
from  a  doubt  that  the  countenance  of  the 
court  would  be  wanting,  but  from  fear  that 
the  mistakes  of  The  Incorporated  Society 
of  Artists''  might  again  be  committed.  It 
was  after  West  had  taken  to  him  a  proposed 
list  of  thirty  members,  and  explained  to  him 
enough  to  show  that  the  new  society  started 
on  a  basis  of  their  own  which  might  fairly 
be  made  to  include  all  the  higher  objects 
of  such  an  institution,  that  Reynolds  con- 
sented to  join  ;  and  all  his  brother  artists, 
rising  to  a  man,  saluted  him  as  president  of 
the  new-born  institution. 

The  list  of  original  members  includes  the 
names  of  Chambers,^  Moser,  Hayman,  New- 
ton, Penny,  Sandby,  West,  Reynolds,  Barto- 
lozzi,  Cipriani,  Cosway,  Wilson,  Zoffany, 
Nollekens,  Dance,  Hone,  and  Wilton  ; 
together  with  two  women  artists,  Angelica 

1  Sir  W.  Chambers  was  the  prime  mover,  and  is  thus 
alluded  to : — 

By  all  thy  odes  the  world  shall  know 
That  Chambers  planned  it." 

Academy  Lyrics ^  Peter  Pindar. 


1 18  Angelica  Kauffmann. 


Kauffmann  and  her  friend  Mary  Moser. 
Such  an  honour  as  this  has  never  since 
that  day  been  paid  to  any  female  artist,  and 
although  it  was  no  doubt  due  to  the  in- 
fluence of  Sir  Joshua,  still  he  would  not 
have  ventured  to  confer  the  dignity  of  R.A. 
upon  Angelica  unless  her  position  in  a  great 
degree  justified  his  action.  His  fellow- 
academicians,  however,  did  not  approve  of 
the  introduction  of  the  female  element,  and, 
as  a  hint  that  their  sex  rendered  them  unfit 
for  the  necessary  course,  both  ladies  are 
purposely  omitted  from  Zoffany's  picture  of 
the  Academicians  gathered  about  the 
Model/'  In  this  fine  work  (as  Leslie  ^  says), 
^'each  face  is  an  admirable  likeness,  and 
the  peculiarity  of  every  artist  is  caught  and 
transferred  to  the  canvas  so  as  to  strike 
every  beholder.  There  is  Moser  setting 
the  figure,  and  Zuccarelli  and  Yeo  studying 
the  pose.  Dr.  W.  Hunter  scans  the  action 
of  the  muscles.  Nathaniel  Hone,  with  an 
attitude  of  swaggering  importance,  leans  on 
the  screen  at  the  back  of  the  model.  Cosway, 
^  Leslie's  life  of  Sir  Joshua  Reynolds. 


Womanhood. 


119 


the  Maccaroni  miniaturist,  displays  his  clouded 
cane  and  gold  lace  at  full  length  in  the  left-hand 
corner.  He  is  the  only  one  present,  except  Sir 
Joshua,  who  wears  a  sword.  Zoffany  himself, 
palette  on  thumb,  is  a  pendant  to  Cosway. 
Behind  him  West  leans  on  the  rail,  in  con- 
versation with  Cipriani  and  Gwynne.  On  his 
left,  seated  on  a  drawing-box,  is  the  burly 
figure  of  Frank  Hayman.  Just  behind  him  is 
Sir  Joshua,  the  centre  figure  of  the  composi- 
tion." 

On  the  wall  hang  the  portraits  only,  in  oval 
frames,  of  the  two  lady  academicians,  Mary 
Moser  and  Angelica  Kauffmann.^  They 
were  thus  admitted  into  the  picture,  as  it 
were,  on  sufferance,  not  as  making  part  of 
the  assembly.  Zoffany,  too,  has  done  very 
little  justice  to  them — at  least  to  Angelica, 
whom  he  deprives  of  all  her  beauty,  and  re- 
presents as  a  prim,  hard-featured  woman. 

The  first  exhibition  of  the  Royal  Academy 
pictures  was  held  in  the  spring  of  1769,  at 
Messrs.  Christie's  auction  rooms,  in  Pall  Mall. 

^  The  diploma  given  by  the  Eoyal  Academy  is  pre- 
served by  the  descendants  of  Johann  Kauffmann. 


I20  Angelica  Kauffmann. 

Tradition,"  says  Mr.  Redford,  in  his  Art 
Sales,"  fixes  the  spot  where  the  Senior 
United  Service  Club  now  stands,  opposite  to 
Market  Lane,  Haymarket."  On  the  26th 
April,  1769,  the  social  and  artistic  world  of 
London  were  hurrying  thither.  The  Adver- 
tiser oi  April  27th  announces  :  On  Monday 
the  Princess-Dowager  of  Wales,  and  yester- 
day his  Majesty,  accompanied  by  his  Royal 
Highness  the  Duke  of  Gloucester  and  the 
two  princes  of  Mecklenburg  Strelitz,  visited 
the  exhibition  of  the  Royal  Academy  in  Pall 
Mall,  with  which  they  expressed  themselves 
highly  satisfied." 

One  hundred  and  thirty-six  pictures  had 
been  sent  in,  a  small  number  according  to  our 
ideas.  Angelica  sent  four,  which  are  thus 
set  down  in  the  catalogue  :  ^ 

^  The  introduction  to  the  catalogue  has  the  follow- 
ing 

As  the  present  exhibition  is  a  part  of  the  institution 
of  an  academy  supported  by  royal  munificence^  the 
public  may  naturally  expect  the  liberty  of  being 
admitted  without  any  expense.  The  academy,  there- 
fore, think  it  necessary  to  declare  that  this  was  very 
much  their  desire,  but  that  they  have  not  been  able 
to  suggest  any  other  means  than  that  of  receiving  money 
for  admittance,  to  prevent  the  room  from  being  filled 


Womanhood. 


121 


61.  Interview  of  Hector  and  Andromache.  - 

62.  Achilles  discovered  by  Ulysses  amongst  the  at- 

tendants of  Deidamia.^ 

63.  Venus  showing  Eneas  and  Achates  the  way  to 

Carthage. 

64.  Penelope  taking  down  the  bow  of  Ulysses  for 

the  trial  of  her  wooers. 

Th^  Adve7^tiser  s^ys  that  the  pictures  which 
chiefly  attracted  the  attention  of  the  con- 
noisseurs v^ere  three  by  Sir  J,  Reynolds,  the 

Regulus"  of  West  and  his  Venus  lament- 
ing the  Death  of  Adonis,"  and  Hector  and 
Andromache,"  by  Mrs.  Angelica^  an  Italian 
young  lady  of  uncommon  genius  and  merit. 

In  the  European  Magazine  there  is  like- 
wise a  short  notice  : 


Departure  of  Regulus  from  Rome. 
The  King  and  Queen 
Lady  Molyneux 
A  piping  boy 
A  boy  playing  cricket 
An  altar-piece 
Duchess  of  Manchester 
Hector  and  Andromache 
and 

Venus  directing  Eneas  and  Achates. 


West. 

Nathaniel  Dance. 

Mr.  Gainsborough. 

Mr.  Hone. 

Cotes. 

Cipriani. 

Mr.  Reynolds. 


Mrs.  Kaufifmann,  a 
lady  but  lately 
arrived  in  Lon- 
don. 


by  improper  persons,  to  the  entire  exclusion  of  those 
for  whom  the  exhibition  is  apparently  intended." 

^  Deidamia,  daughter  to  King  Lycomedes,  at  whose 
Court  Achilles  was  concealed  dressed  as  a  woman. 


122  Angelica  Kauffmann, 


From  Angelica's  choice  of  subject  it  was 
evident  the  gods  and  goddesses  of  Olympus 
ruled  her  fancy.  Other  artists,  West  and 
Reynolds,  likewise  exhibited  classical  and 
allegorical  subjects.^ 

The  president  sent  no  less  than  three  alle- 
gorical portraits : 

1.  The  Duchess  of  Manchester,  as   Diana  nursing 

Cupid. 

2.  Lady  Blake,  as  Juno  receiving  the  Cestus  of  Venus. 

3.  Miss  Morris  nursing  Hope. 

Allan  Cunningham  says,  in  his  caustic  way, 
Poor  Miss  Morris  was  no  dandier  of  babes, 
but  a  delicate  over-sensitive  spinster,  unfit 
for  the  gross  wear  of  the  stage.  Of  Lady 
Blake's  title  to  Juno,  I  have  nothing  to 
say,  and  what  claim  a  Duchess  of  Manchester, 
with  her  last  babe  on  her  knee,  could  have 
to  the  distinction  of  Diana,  it  is  difficult  to 
guess/' 

The  critics  were  hard  upon  the  pictures. 

^  Mr.  Taylor,  in  his  Life  of  Sir  Joshua,  speaks  slight- 
ingly of  his  forced  and  far-fetched  personifications  of 
Juno,  Hebe  and  Diana.  He  considers  them  indescrib- 
ably inferior  in  charm  to  those  which  Reynolds  has 
painted  of  the  women  of  his  own  time. 


Womanhood. 


123 


Horace  Walpole  marks  ''Bad,  very  bad,"  ^  con- 
stantly in  his  catalogue.  He  makes  no  men- 
tion of  Angelica's  Hector  and  Andro- 
mache;" which  was  a  commission  from  Mr. 
Parker  of  Saltram  (afterwards  Lord  Boring, 
don),  and  was  engraved  by  Watson. 

Bernsdorff  saw  the  picture  in  the  artist's 
studio  before  it  went  to  the  Academy,  and 
after  criticising  Angelica's  faults  severely,  he 
says,  The  defects  in  her  method  (grave  ones, 
I  own)  are  in  my  opinion  counterbalanced  by 
the  many  beauties  of  thought  and  feeling 
with  which  her  work  is  permeated.  Sensu 
tincta  stmt.  She  shows  great  wisdom  in  her 
choice  of  a  subject — the  moment  of  separation 
when  the  interest  is  heightened  by  the  fore- 
boding of  never  again  meeting,  and  the 
imagination  can  fill  up  the  details.  Her 
composition  is  full  of  grace,  and  the  figures 
have  the  quiet  dignity  of  the  Greek 
models.  Her  women  are  most  womanly, 
modest  and  loving,  and  she  conveys  with 
much  art  the  proper  relation  between  the 


^  From  the  Strawben-y  Hill  Catalogue. 


1 24  Angelica  Kauj^mann. 


sexes,  the  dependence  of  the  weaker  on 
^the  stronger,  which  appeals  very  much  to  her 
masculine  critics.  It  must  be  owned,  how- 
ever, that  a  little  of  this  feebleness  charac- 
terizes her  male  personages.  They  are  shy 
creatures  ;  some  of  them  look  like  girls  in 
men's  clothes,  and  it  would  be  impossible  for 
her  to  portray  a  villain.  However,"  he 
adds,  ^'the  colouring  is  very  faulty,  the 
background  is  monotonous,  and  a  violet 
haze  floats  over  the  picture,  which  is  very 
detrimental  to  its  beauty.'^ 

The  moment  chosen  by  Angelica  is  where 
Hector  meets  his  spouse  at  the  gates  of 
Troy.  His  steps  are  already  turned  towards 
the  camp.  It  seems  that  one  more  and  he 
will  be  outside  the  city,  but  he  has  wavered 
at  the  voice  of  Andromache  ;  he  has  turned 
towards  her,  the  left  foot  is  loosely  drawn 
back  behind  the  right,  and  the  lance  which 
he  holds  is  planted  in  the  ground.  He  is 
consoling  the  half-fainting  woman,  who 
rests  upon  his  shoulder.  Her  right  arm 
is  thrown  round  his  neck,  the  other  hangs 
down,    and   her   hand   seeks    that  of  her 


Womanhood.  125 

husband,  who  takes  it  in  his  clasp.  She  has 
just  spoken  : 

Too  daring  Prince  :  Oh,  whither  dost  thou  run  ? 

Ah  !  too  forgetful  of  thy  wife  and  son  ! 

And  think'st  thou  not  how  wretched  we  shall  be, 

A  widow  I  — a  helpless  orphan  he  ! 

Thy  wife,  thy  infant  in  thy  danger  share. 

Oh,  prove  a  husband  and  a  father's  care  !  " 

Pope's  Iliad.'' 

But  now  she  is  silent,  nestHng  close  to  her 
beloved,  searching  his  face,  anxious  to  read 
if  she  may  dare  to  hope.  Hector  is  speaking 
those  noble  words : 

Andromache,  my  soul's  far  better  part, 
Why  with  unti??iely  sorrow  heaves  thy  heart  ? 
No  hostile  hand  can  antedate  my  doom 
Till  Fate  consigns  me  to  the  silent  tomb." 

The  spectator  can  see  that  the  hero  has 
not  made  up  his  mind.  Will  he  remain  ?  or 
will  he  tear  himself  away,  from  her  loving 
embrace  ?  The  uncertainty  of  this  situation, 
when  realistic  in  intensity,  appeals  very 
much  to  the  heart,  and  is  a  great  factor  in 
art.  Lessing  availed  himself  of  it  with 
great  success  in  his  book  dealing  with  the 
antique  statue  of  the  Laocoon. 

Angelica  also  exhibited  this  year  a  portrait 


126 


Angelica  Kauff77iann. 


of  the  president,  done  to  order  for  his  friend 
Mr.  Parker  of  Saltram. 

Mr.  Taylor  says  it  is  (judged  by  the 
present  standard)  a  weak  and  characterless 
piece  of  work,  but  it  found  great  commenda- 
tion in  its  day.  This  portrait  must  have  been 
exhibited  at  the  Society  of  Incorporated 
Artists,  who  had  their  show  of  pictures  on 
May  loth  this  year.^ 

The  Advertiser  wrote  of  it  in  these 
terms  : — 

While  fair  Angelica,  with  matchless  grace, 
Paints  Conway's  lovely  form  and  Stanhope's  face. 
Our  hearts  to  beauty  willing  homage  pay, 
We  praise,  admire,  and  gaze  our  souls  away. 
But  when  the  likeness  she  has  done  for  thee, 
O  Reynolds,  with  astonishment  we  see. 
Forced  to  submit  with  all  our  pride,  we  own 
Such  strength,  such  harmony  excelled  by  none  ; 
And  thou  unrivalled  by  thyself  alone/' 

This  painting  of  one  another's  portraits, 

^  The  Earl  of  Morley  kindly  allowed  a  photograph 
to  be  taken  of  this  portrait,  and,  in  opposition  to  Mr. 
Taylor's  criticism,  we  venture  to  quote  the  judgment  of 
other  art  critics  who,  when  the  portrait  was  exhibited 
at  the  Manchester  Exhibition,  pronounced  the  treatment 
to  be  unconventional  and  the  colouring  good. 


SIR  JOSHUA  REYNOLDS. 
(From  a  portrait  in  the  possession  of  the  Earl  of  Morley.) 

To  face  page  126. 


Womanhood.  1 2  7 

together  with  placing  Angelica's  name  on 
the  roll  of  Academicians,  very  naturally 
revived  the  old  report,  and  set  the  gossips^ 
tongues  wagging,  although  now  there  could 
be  no  talk  of  a  marriage.-^  Mr.  Forster  in 
his  Life  of  Goldsmith,"  speaks  of  ^'Reynolds 
and  his  Angelica/'  and  gives  us  the  story  of 
Dr.  Baker's  dinner  in  a  rhyming  letter  from 
Goldsmith  to  his  dear  Horneck,  in  which  he 
makes  mention  of  Angelica's  portrait  of  the 
president : — 

**Sa  tell  Horneck  and  Nesbitt 
And  Baker  and  his  bit 
And  Kauffman  beside 
And  the  Jessamy  Bride. 

But  'tis  Reynolds's  ivay 

From  Wisdom  to  stray^ 

A?id  Angelica's  whim. 

To  be  frolick  like  hi?n. 
But,  alas,  your  good  luorships,  hoiv  could  they  be  wiser, 
When  both  have  been  spoiPd  in  to-day's  *  Advertiser '  ?  " 

The  years  '70  and  '71  were  full  of  work. 
To  the  exhibition  of  1770  she  sent  four  large 
pictures : 

^  Angelica  not  being  able  to  get  a  divorce  from  Brandt, 
without  going  through  the  publicity  of  a  trial. 


128  Angelica  Kauffmann. 


116.  Vortigern  enamoured  with  Rowena.^ 

117.  Hector  upbraiding  Paris.^ 

118.  Cleopatra  adorning  the  tomb  of  Mark  Antony.^ 

119.  Samma,  the  Demoniac,  weeping  over  the  ashes 

of  his  son. 

The  subject  of  this  last  was  taken  from 
Klopstock's  Messiah/^  which  the  author  had 
sent  to  her,  and  of  which  she  writes  to 
Sturz  : — 

May,  1769. 
I  have  much  to  thank  you  for,  in  the 
great  honour  our  famous  countryman  has 
paid  me  in  sending  me  his  works.  I  had 
thought  it  would  be  too  bold  of  me  to 
offer  my  warm  thanks,  but  now  I  have 
resolved  to  follow  your  advice  and  to  write 
to  him.  I  am  going  to  venture  further 
(still  in  accordance  with  your  good  counsels) 
and    having    chosen  a  subject    from  the 

^  In  the  British  Museum  there  is  a  proof  engraving 
from  the  original  which  is  in  the  possession  of  the  Earl  of 
Morley.  It  is  counted  one  of  her  best  as  regards  correct 
outlines. 

^  Engraved  by  Thomas  Burke. 

^  Engraved  by  Thomas  Burke  from  the  original,  which 
was  bought  by  George  Bowles.  This  is  well  known  to 
all  print  collectors.  ^ 


Womanhood. 


129 


f  Messiah/  I  mean  to  paint  it  for  the  great 
composer.  Oh,  that  I  were  able  to  express 
by  my  brush  something  of  the  majesty,  the 
divine  beauty  of  this  glorious,  this  sacred 
theme !  I  shall,  however,  attempt  it,  and 
should  I  succeed,  I  shall  send  my  un- 
worthy effort  to  my  kind  friend,  Herr  Klop- 
stock." 

Sternberg  damns  this  with  the  words 
"  full  of  false  sentiment,''  but  Horace  Walpole, 
in  his  Strawberry  Hill  catalogue,  remarks  : 
Not  ill ;  which,  considering  his  notes  are 
all  in  a  depreciatory  key,  amounts  to  almost 
praise. 

This  year,  too,  the  -portrait  of  General 
Stanwick  s  daughter,  who  was  lost  on  her  pas- 
sage from  Ireland,  had  an  immense  success.  It 
is  full  of  tenderness  and  sensibility,  and  even 
Sternberg  has  to  acknowledge  its  merits : 
at  the  same  time  he  takes  care  to  add  to 
his  few  words  of  praise  his  usual  amount 
of  unworthy  criticism  against  the  English 
people. 

*    **  This  picture,"  he  says,     was  the  fore- 

K 


1 30  A ngelica  Kauffmann. 

runner  of  an  infinite  number  of  pale,  sen- 
timental heroines  and  equally  colourless 
heroes,  meeting  under  a  romantic  moonlight 
in  an  English  park.  One  can  imagine 
nothing  more  cold  and  prudish  than  these 
compositions  :  nevertheless,  they  charmed 
all  England  for  the  reason  that  the  English 
nation,  which  is  outwardly  prudish^  but  at 
heart  immoral^  adores  a  conventional  hand- 
ling of  dangerous  subjects.  They  like  to 
have  paintings  hung  in  their  drawing-rooms 
which  will  not  cause  a  pulse  to  beat,  and 
at  which  their  young  misses  can  gaze  without 
blushing;  in  fact,  they  clothe  art,  and,  to 
satisfy  their  absurd  prudery,  stifle  genius.*' 

Without  wishing  to  enter  upon  the  inca- 
pacity of  the  English  nation  to  decide  upon 
matters  of  art  in  the  last  century,  one  may 
venture  to  say  in  Angelica's  defence,  that 
the  reproduction  of  her  pictures  by  the  best 
engravers  of  a//  countries  must  be  an  evidence 
that  her  work  was  possessed  of  merit,  an 
evidence  of  greater  value  than  would  be  the 
sale  of  her  pictures. 

The  engraver  does  for  the  painter  what 


Womanhood. 


the  translator  does  for  the  author  or  poet, 
and  it  is  not  probable  that  a  bad  or  indiffer- 
ent writer  would  find  translators  from  every 
nation  competing  for  his  book ! 

The  list  of  the  engravers  who  secured 
the  copyright  of  her  designs  is  a  long 
one  : — Bartolozzi/  Faclus,  Ryland,  Burke, 
Green,  Watson,  Scorodomoff,  Dickinson, 
Laurie,  Houston,  Dauke,  Berger,  Smith, 
Porporati,  Kruger,  Durmer,  Schiavonetti, 
Knight,  Carattoni,  Spilsbury,  Taylor, 
Bryer,  Cataneo,  Morghen,  Marcuard, 
Wrenk^  Tomkins,  Folo,  Zucchi  ;  also  the 
girl,  Rose  Lenoir,  who  engraved  Venus 
in  her  Chariot  at  the  age  of  fourteen. 
It  is  almost  impossible  to  make  a  cor- 
rect list  of  the  proofs  taken  from  her 
pictures  and  designs.  Rossi  makes  it  siJc 
hundred,  without  counting  the  English  en- 
gravers. 

The  subject  of  her  designs  she  generally 
took  from  history,  ancient  or  modern. 
While  in  England  she  read  constantly  the 

*  For  a  list  of  those  engraved  by  Bartolozzi,  see 
Appendix.  . 

K  2 


132  Angelica  Kauffmann. 


English  poets  ;  mythology  and  classical  his- 
tory were,  however,  nearer  to  her  heart,  and 
in  dealing  with  Cupids,  nymphs,  Bacchantes, 
no  one,  except  perhaps  Albano,  has  ever  sur- 
passed her  for  delicacy  and  grace  of  design. 
Goethe  talks  of  them  as  the  children  of  an 
airy,  loving  imagination.  Executed  by  the 
pencil  of  fascination,''  says  Pasquin,  and  the 
colouring  is  in  the  chastest  Italian  school/* 
I  would  draw  attention  especially  to  a  vig- 
nette. Die  Gekrankte  Liebe  " — sometimes 
called       Aglaia  ^  bound  by  Cupid '' — also 

L'Amour  dort,''  Garde  a  vous,"  ^*  Cupid 
Asleep,''  and  Cupid  disarmed  by  Euphro- 
syne."  Cupid  drying  Psyche's  tears  extorts 
the  warmest  praise  from  Sternberg,  who 
acknowledges  that  ''design"  was  the  artist's 
real  merit.  ''Her  talent,"  he  says,  "lay  in 
elegance  and  delicacy.*' 

There  are  two  Cupid  ^  pictures  in  the 
Kensington  Museum.  The  anatomy  of  both 
is  as  usual  faulty,  the  arm  of  the  woman  being 
singularly  out  of  drawing.    The  colouring, 

^  Agliiia  the  bright  one.  One  of  the  nyinphs  or  charities, 
^  Cupid's  Pastime  should  be  the  name  of  the  picture?. 


Womanhood. 


133 


however,  is  charming,  the  soft  yellows  deli- 
cious, and  the  malicious  expression  on  the 
Cupid^s  face  most  humorous. 

Mary  Moser  wrote  a  pleasant,  chatty 
letter  to  Fuseli,  still  in  Rome,  telling  him 
all  the  news  of  the  Exhibition  of  1770,  in 
which  she  says,  Reynolds  was  like  himself 
in  pictures  which  you  have  seen.  Gains- 
borough beyond  himself  in  a  '  Portrait  of  a 
Gentleman,'  in  a  Vandyke  habit ;  Zoffany 
superior  to  everybody  in  a  portrait  of  *  Garrick, 
as  Abel  Drugger,'  with  two  other  figures, 
Subtle  and  Face.  Angelica  made  a  very 
great  addition  to  the  show,  and  Mr.  Hamil- 
ton's ^  *  Briseis  Parting  from  Achilles '  was 
much  admired." 

1 77 1.  At  the  third  exhibition  of  the 
Academy,  Leslie  says  Angelica's  pictures 
were  amongst  the  best.  Again  she  had  four 
large  canvases : 

113.  The  Interview  of  King  Edgar  with  Elfrida  after 

her  marriage  with  Athelwold. 

114.  Acontio  and  Adippe. 

115.  Return  of  Telemachus  (Odyssey). 

116.  Erminia  finds  Tancred  wounded. 
Also  a  Portrait  of  a  Lady. 

^  Hamilton  was  a  pupil  of  Antonio  Zucchi. 


i>34  Angelica  KaiLffmann. 

The  Interview  between  Edgar  and 
Elfrida/  "says  Sternberg,  ''raised  Angelicas 
reputation  in  England  to  the  highest  point. 
Ryland  engraved  it  in  the  so-called  Schwarz 
Kunst  (Mezz.otinto),  and  no  collection  of 
qngravings  is  without  it.'^  He  adds,  in  a 
grudging  manner,  that  the  drawing  of  the 
figures  is  correct,  and  the  grouping  original 
and  eff€Ctive,  but  that  there  is  a  certain  cold- 
ness, and  the  forms,  although  beautiful,  are 
wanting  in  life.  Horace  Walpole  finds  very 
little  expression  in  it. 

At  this  exhibition  appeared  West  s  great 
picture,  ''The  Death  of  Wolfe,''  the  first 
high  art  picture  that  represented  a  contem- 
porary event.  It  caused  a  reaction  against 
the  classical  and  allegorical  style,  which, 
Leslie  says,  ^'  never  took  any  real  hold  of  the 
English  mind,  but  that  in  spite  of  the  cold  re- 
ception given  to  Grecian  gods  and  goddesses, 
Angelica  Kauffmann  and  Barry  persisted  in 
sending  in,  year  after  year,  mythological 
pictures." 

He  might  have  added  Reynolds,  and  West 
^  In  the  jossession  of  the  Earl  of  Morley  at  Saltram. 


Womanhood.  135 

himself,  who,  the  very  next  year,  relapsed 
into  the  classical. 

In  Peter  Pindar's  bitter  ''Odes  to  the 
Academicians/^  in  which  he  satirizes  all  the 
leading  artists,  he  gives  a  touch  to  Angelica  s 
Grecian  foible  : — • 

Angelica  my  plaudit  gains, 
Her  wit  so  sweetly  canvas  stains, 

Her  dames  so  Grecian  give  me  such  delight; 
But  were  she  married  to  such  males 
As  figure  in  her  painted  tales,"  etc. 


CHAPTER  VI. 
1771 — 1776. 

WOMANHOOD. 

In  the  autumn  of  1771  Angelica  visited 
Ireland.  She  had  several  commissions  from 
noble  patrons,  amongst  the  number  that  of 
the  Viceroy,  whose  portrait  she  was  commis- 
sioned to  paint. 

Getting  to  Dublin  a  hundred  and  twenty 
years  ago  was  not  such  an  easy  matter  as  it  is 
now-a-days  ;  it  took  four  days  to  reach  there, 
even  if  you  secured  a  passage  from  Parkgate 
in  the  Lord- Lieutenant's  yacht,  a  matter  of 
favour,  although  it  cost  five  guineas. 

It  was  thirty  years  before  the  Union, 
when  Angelica  paid  this  visit  to  the  Irish 
capital,  which  was  then  the  pleasantest  in 
the  three  kingdoms,  the  mimic  court  being 


Womanhood. 


^37 


infinitely  gayer  than  the  more  decorous  one 
at  St.  James's.^  The  nobility  had  fine  houses, 
elegantly  decorated  ;  ^  they  spent  their  money 
in  a  princely  fashion,  gave  orders  without 
stint,  and  what  they  could  not  pay  for  they 
charged  upon  the  family  estates. 

In  Lord  Charlemont's  letters,  lately  pub- 
lished by  Mr.  Gilbert,  one  sees  what  a  mag- 
nificent nobleman  he  was :  the  freightage  of 
his  books,  his  statues,  his  pictures,  his  marbles, 
cost  a  small  fortune,  and  his  example  was 

^  The  vice-Kings  were  oftentimes  jovial,  and  permitted 
somewhat  of  a  saturnalia  to  prevail — as  when  the  game 
of  Cutchacutchoo  was  introduced  and  was  in  high  favour 
at  the  Castle.  Two  recesses  were  fitted  up  at  the 
end  of  the  grand  saloons,  and  here  behind  a  curtain  the 
ladies  prepared  their  toilet  for  the  sport.  In  a  moment 
the  floor  was  crowded  with  *  belles,'  *  dowagers,'  and 
*  beaux,'  hopping  about  in  the  sitting  attitude  required 
by  the  game.  Great  was  the  laughter  when  a  gentle 
dame  of  high  degree  was  capsized  by  the  heavier  assault 
of  a  stouter  rival.  Presently,  as  the  fun  waxed  more 
furious,  dresses  were  torn,  hair  disordered,  paint  on  the 
fair  faces  began  to  rub  off,  and  the  whole  became  a 
romp." 

*  Most  of  ihese  houses  were  designed  in  Castle's  * 
massive  style,  the  interiors  being  decorated  by  foreign 
artists,  and  the  ceilings,  friezes,  and  chimney-pieces 
the  work  of  Italian  stuccoists  who  had  been  imported  into 
Dublin. 


*  An  architect  of  great  merit. 


138  Angelica  Kaitffmann. 


emulated  by  Lord  Powerscourt,  the  Duke  of 
Leinster,^  Mr.  La  Touche,  Lord  Meath,  and 
many  others.  Most  of  these  houses  are  now 
Government  offices,  and  are  gutted  (either 
by  sale  or  removal)  of  their  works  of  art,  but 
the  friezes,  ceilings,  staircases,  still  remain, 
and  are  most  elegant  in  design,  being  chiefly 
the  work  of  either  Marinari  or  Verpyle.  The 
chimney-pieces  are,  many  of  them,  Wedg- 
woods. In  Lord  Ely's  house,  in  Ely  Place, 
they  are  of  such  value  that  the  late  marquis, 
although  he  had  long  since  parted  with  the 
lease,  preserved  bis  right  in  them,  and  would 
periodically  send  skilled  artists  to  see  they 
were  not  tampered  with.^ 

^  At  the  time  when  Leinster  House  was  built,  there 
were  neither  squares  nor  many  houses  on  the  south  side 
of  the  city.  From  the  windows  of  the  Earl  of  Kildare's 
mansion,  in  Merrion  Square,  you  could  see  on  a  fine  day 
the  ships  in  Dunleary  Harbour— six  miles  distant.  But 
soon  magnificent  mansions  rose  as  by  a  magician's  wand. 
Lord  Meath  came  from  High  Street  to  Stephen's  Green, 
Lord  Powerscourt  to  William  Street,  Lord  Antrim  and 
others  to  Merrion  Square,  Lord  Mornington  to  Merrion 
Street,  Lord  Clonmel  to  Harcourt  Street,  the  Marquis 
of  Ely  to  Ely  Place,  etc. 

2  Here,  too,  the  wrought-iron  staircase  is  rare,  so,  too, 
are  the  panelled  walls  with  family  pictures  let  in.  For 
beauty,  however.  Lord  Ely's  House  does  not  equal 
Powerscourt  House,  where  the  friezes,  ceilings,  and 
staircase  are  most  elegant;  there  is  also  a  Venetian 


Womanhood.  t^g 

It  was  at  one  of  these  fine  houses  that 
Angelica  stayed  on  arriving  in  Dublin  ;  she 
was  the  guest  of  Mrs.  Clayton,  the  wife  of  the 
Bishop  of  Clogher,  the  friend  of  S.wift  and 
Dr.  Delany.  The  Bishop's  house  was  in 
Stephen's  Green,  on  the  south  side,  with  a 
very  handsome  frontage,  something  like 
Devonshire  House ;  the  apartments  were 
well  furnished  with  gold-coloured  damask, 
with  busts  and  portraits  brought  by  the 
Bishop  from  Italy.  Mrs.  Delany  says, 
the  Claytons  saw  the  best  of  company, 
and  kept  a  handsome  table  :  six  dishes  of 
meat  at  dinner,  and  six  at  supper  !  " 

From  the  Claytons  the  artist  went  as  a 
guest  to  the  Attorney-General,  Tisdall,  who 
lived  in  Molesworth  Street,  a  man  of  extra- 
vagant habits.     She  likewise  visited  Lord 

window  of  very  beautiful  design.  In  Mr.  Latouche's 
house,*  in  Merrion  Square,  the  chimney-pieces  let  in  with 
Wedgwood's  elegant  designs,  are  delightful  ;  and  all 
through  the  old  houses  in  Dublin  there  were  formerly 
chimney-pieces  enriched  by  this  famous  artist.  They 
have,  however,  gradually  disappeared,  having  been,  in 
most  cases,  sold  to  English  brokers ;  so,  too,  with  the 
carvings,  and,  in  many  cases,  with  the  pictures  and 
frescoes. 


*  Now  the  residence  of  Sir  John  Banks,  K.C.B. 


T4Q  Angelica  Kauffmann. 

and  Lady  Ely,  at  Rathfarnham  Castle,  Lady 
Caroline  Darner,  an  old  acquaintance,  at 
Emo,  in  the  Queen  s  County,  besides  many 
others.  Everywhere  she  was  received  with 
the  greatest  distinction — more  as  a  friend 
than  an  artist ;  her  portrait  of  Lord  Town- 
shend  making  her  the  fashion. 

The  Irish  Viceroy  was  a  gallant  soldier, 
frank,  convivial,  abounding  in  humour  of  a 
somewhat  coarse  kind,  and  not  always  in  keep- 
ing with  the  dignity  of  the  position  he  held. 
His  capricious,  uncertain  temper  offended  the 
higher  order.  Horace  Walpole  gives  him  the 
worst  of  characters;  according  to  him  *'he 
was  proud,  insolent,  sarcastic,  ill-tempered,  and 
ill-natured,  stooping  to  the  lowest  buffoonery, 
and  debasing  the  Government  he  represented, 
while  he  drove  the  Opposition  to  resistance 
by  his  absurd  and  profligate  conduct. ^ 

^  The  Townshends  were  made  of  very  uncertain,  unre- 
liable stuff.  Charles,  the  brother  of  the  Viceroy,  the  wit 
and  statesman  of  the  family,  being  one  of  those  political 
meteors,  whose  brilliancy  is  outweighed  by  a  total  want 
of  ballast,  which  renders  them  too  erratic  to  be  depend- 
able. The  mother,  Audrey,  or,  as  she  chose  to  call 
herself,  Etheldreda,  had  an  astonishing  wit,  but  little 
prudence. 


Womanhood. 


141 


He  had  been  a  widower  for  two  years, 
but  was  not  inconsolable.  In  his  picture  he 
appears  surrounded  by  his  numerous  family- 
Angelica  had  the  singular  idea  of  placing 
him  with  his  youngest  child  in  his  arms 
before  a  large  looking-glass,  in  which  he  is 
showing  the  infant  its  own  image  ;  the  double 
effect  is  cleverly  conveyed.  Another  portrait 
of  greater  interest,  which  Angelica  painted, 
was  that  of  the  beautiful  Dolly  Monroe,  niece 
to  Lady  Ely,^  whom  Lord  Townshend  was 
supposed  to  admire.  Besides  this  portrait, 
which  will  be  found  facing  page  142,^  Angelica 

^  "  I  remember,  in  my  juvenile  days,"  writes  Mr. 
Caleb  Powell,  *'to  have  seen  a  full-length  portrait,  at 
Hathfarnham  Castle,  of  the  beautiful  Dolly  Monroe,  and 
a  relative  of  hers  told  me  that  Lord  Townshend  pre- 
tended to  her  aunt.  Lady  Ely,  that  his  object  was  to 
captivate  Miss  Monroe,  and  prevail  upon  her  to  become 
Lady  Townshend,  a  delusion  he  kept  up  until  Lady  Ely 
had  induced  her  lord  to  give  his  parliamentary  support 
(about  the  strongest  in  the  House  of  Commons)  to  Lord 
Townshend's  administration ;  but,  to  Lady  Ely's  great 
mortification,  the  Viceroy  married  Miss  Montgomery, 
whose  portrait,  by  Sir  Joshua  Reynolds,  was  certainly 
not  as  handsome  as  that  of  Miss  Monroe."—;/.  C,  Fiiz- 
Patricks  Portfolio, 

*  The  beauty  of  Dolly  Monroe  was  well  nigh  as  cele- 
brated in  her  day  as  that  of  the  famous  Miss  Gunnings. 
Mr.  Forster,  in  his    Life  of  Goldsmith,"  says  the  poet 


X42  Angjelica  Katcffmaim. 


also  painted  a  large  canvas,  with  four  figures 
- — the  Earl  with  his  Countess,  Miss  Monroe  in 
the  foreground  of  the  picture  leaning  over  the 
clavichord,  and  Angelica  at  the  instrument. 
The  picture  is  too  much  crowded,  but  it  is 
interesting  from  its  vicissitudes. 

During  the  troubled  times  which  befell 
Ireland  in  1798,  Rathfarnham  Castle  was 
tenanted  by  a  dairyman,  who  made  the 
banqueting  hall  into  a  stable  for  his  cattle. 
Later  it  passed  into  the  possession  of  Chief 
Justice  Blackburne,  whose  son  is  the  present 
owner.  When  improvements  were  being 
made  some  years  ago,  the  oak  panellings 
were  temporarily  removed,  and  the  family 
portraits  were  found  concealed.  The  late 
marquis  presented  the  Ely  group  to  the 
National  Gallery  of  Dublin,  where  it  is  now  ; 

devoted  his  verse  to  her  charms.  He  introduces  her 
name  in  the    Haunch  of  Venison : — 

Of  the  neck  and  the  breast  I  had  next  to  dispose, 
'Twas  a  neck  and  a  breast  that  might  rival  M-r-e's/' 
The  sketch  of  her  presented  here  was  contributed  by 
the  .  late  Mr.  Henry  Doyle,  C.B.,  Director  of  the 
National  Gallery,  Dublin,  from  the  original  portrait  by 
Angelica.  It  was  bought  for  the  gallery  two  years  ago, 
when  the  Marquis  of  Ely's  sale  took  place  at  Messrs. 
Christie's..  .  .. 


I 


DOLLY  MONROE. 


(From  a  sketch  by  the  late  Henry  Doyle,  C.B.,  Director  of  the  National 
Gallery,  Dublin,  from  the  painting  by  Angelica  Kauffmann.) 


'J  o  face  pa^c  142. 


Womanhood, 


it  was  considered  to  be  by  Reynolds,  until 
Mr.  Henry  Doyle,  the  then  Director  of  the 
Gallery,  discovered  the  signature,  A.  Kaufif- 
mann. 

At  Emo  there  are  several  portraits  by  her, 
all  in  good  preservation.  Besides  Lady 
Caroline  Darner,  and  her  husband.  Lord 
Milton,"  she  painted  several  replicas  of  the 
Duke  and  Duchess  of  Dorset,  and  presented 
Lady  Caroline  with  a  portrait  of  herself.^  Rossi 
says,  she  received  such  a  multitude  of  orders 
for  historical  pictures  and  portraits  while  in 
Ireland,  that  she  found  the  only  way  was  to 
sketch  in  the  heads,  by  this  means  satisfying 
her  patrons,  and  reserving  the  completion  of 
the  work  until  she  had  leisure  to  do  it  justice. 

The  Death  of  Sylvia's  Stag,"  painted  for 
Justice  Downes  of  the  Queen  s  Bench  ;  two 
beautiful  portraits  of  Lord  Ferrard  and  his  son, 
which  are  at  Antrim  Castle  ;  Mrs.  Bous- 
field,"  in  the  possession  of  Mr.  Bagwell,  of 
Marlfield,  County  Tipperary ;  Mrs.  Cle- 
ments," with  a  naked  infant  on  her  knee,  in  the 
possession  of  Colonel  Clements,  are  about  the 

'  *  There  is  also  at  Emo  a  table  of  her  work. 


144  Angelica  Kaitffmann. 

best  knov/n  of  her  portraits.    The  amount  of 
decorative  work  done  by  Angeh'ca,  during  her 
stay  in  Dublin,  in  the  way  of  ceilings,  door- 
panels,  tables,  etc.,  seems  almost  incredible. 
Unfortunately,  the  delicacy  of  her  method, 
and  the  fading  of  the  colours  she  used,  to- 
gether with  the  neglect  which  shortly  after 
befell  all  of  beauty  and  art  in  the  ill-fated 
country,  have  caused  much  of  her  work  to  be 
irrecoverably  lost.    There  still  remains,  how- 
ever, a  good  deal  of  her  beautiful  decoration  : 
notably,  in  Lord  Meath  s  house,  in  Stephen's 
Green  (now  the  property  of  the  Church  Tem- 
poralities), where  the  ceilings  are  elaborately 
painted  by  her,  with  emblematic  figures  in 
the  four  corners  of  the  centre.    The  doors, 
too,  are  prettily  decorated,  the  work  being 
as  fresh  as  if  done  yesterday.    In  an  outer 
room  there  are  frescoes,  of  which  both  the 
subject  and  the  author  are  said  to  be  un- 
known; but  anyone  conversant  with  Angelica  s 
style  would  have  little  hesitation  in  attribut- 
ing them  to  her.    They  are  weakly  drawn, 
and  carelessly  handled,  but  the  very  faults 
show  them  to  be  hers;  and  the  subject  of 


Womanhood.  1 45 

one,  at  all  events,  was  a  favourite  theme  v^ith 
her.^  At  18,  Rutland  Square,  formerly  Lord 
Farnham's,  and  now  the  residence  of  Lord 
James  Butler,  the  ceilings  are  painted  by  her, 
also  at  Lord  Longford's,  in  the  same  square. 
The  best  of  her  work  is  to  be  found  at  Dr. 
Mahaffy  s,  in  North  Great  George's  Street, 
where  the  medallions  are  painted  on  canvas, 
and  laid  into  niches  made  for  them  in  the 
**Aveco  "  ;  here  the  subjects  are  her  favourite 
Greeks.  It  is  pleasant  to  think  that,  in  this 
instance,  her  work  is  in  the  hands  of  one 
of  the  best  Greek  scholars  of  our  day,  Dr. 
Mahaffy,  of  Trinity  College. 

Angelica's  stay  in  Ireland  lasted  over  six 
months.  She  returned  to  London  in  time  to 
exhibit,  at  the  May  Exhibition  of  1772, 
Andromache  and  Hecuba  weeping  over 
Hector's  ashes,"  a  gloomy,  uninteresting  sub- 
ject ;  Rinaldoand  Armida,"  **La  Penserosa," 
a  whole  length  of  a  lady  in  Italian  dress,  and 
a  Bishop  !  ^    They  made  very  little  mark  ;  the 

^  A  shepherd  moralizing  while  peasants  dance  in  the 
distance. 

^  Doctor.  Robinson,  Primate  of  Ireland,  afterwards 
created  Baron  RokeV* 

L 


146  Angelica  Kauffmann. 


prresident  had  six  of  his  best  pictures,  and 
Zoffany  s  Academicians/'  which  was  this 
year  in  the  Academy,  deservedly  absorbed  all 
attention. 

To  her  other  occupations  she  now  added 
those  of  etching  and  engraving.  The  former 
she  had  practised  in  her  girlhood.  There  are 
about  thirty-five  plates  of  hers  extant,^  which 
are  proofs  that  in  this  line  she  would  have 
distinguished  herself.  The  outlines  are  well 
defined,  and  the  shadows  brought  out  with  a 
firm  touch  ;  the  aquafortis  used  with  intelli- 
gence. With  this  method  she  had  produced 
a  good  picture  of  Winckelmann,  which  was 
this  year  engraved  by  Ryland.  Bernsdorff, 
writing  to  Denmark,  says,  Angelica  has 
given  me  a  charming  present  of  some  etch- 
ings of  her  own  doing,  which  are  not  to  be 
had  in  any  print  shop.  Amongst  these,  I  am 
particularly  pleased  with  a  likeness  of  our 
Winckelmann.  He  sits  at  his  desk,  his  pen 
in  his  hand,  searching  with  his  eagle  eye  to 

^  For  a  list  of  these  thirty-five  plates,  see  Appendix. 
They  are  very  valuable,  as  after  she  left  England 
Angelica  gave  up  etching. 


Womanhood. 


M7 


discover  in  Apollo's  nose,  or  the  Torso  of 
Hercules,  where  lay  their  contempt  for  the 
gods/^  ^ 

Another  etching  of  equal  merit  was  one  of 
Raphael/' and  a  half  length  of'*  Hope,"  which 
she  gave  to  the  Academy  of  St.  Luke,  in  1 765  ; 

A  Madonna  and  Child,''  in  1 773,  and  in  1 776, 
two  fine  etched  copper-plates,  also  a  picture  of 
•'St.  Peter'^  after  Guido,  the  original  of  which 
IS  in  the  Monastery  of  Sampiere,  at  Bologna  : 
this  she  perfected  with  the  assistance  of 
Joseph  (orGiuseppe)  Zucchi  the  engraver,  and 
it  was  published  in  London  in  1776,  the  plate 
bearing  the  name  of  both  artists.  A  good 
many  of  the  thirty-five  plates  have — *'eadem  et 
Joseph  Zucchi ;  "  these  last  are  finished  with  a 
graving  tool.  Some  of  them  are  very  fine — 
Calypso  and  Ulysses,''  Urania,"  "  Sappho 
conversing  with  Homer,"  from  a  picture  by 
Antonio  Zucchi,  which  is  a  masterpiece  of 
free  treatment.  Also  the  Haarflechterinn,** 
or  Hairplaiter,  which  is  well  known  to  all 
collectors.  This  is  also  etched  in  Scheide- 
wasser,  or  aquafortis,  and  has  the  date  1765. 
'  From  Sturz's  Biography. 
L  2 


148  Angelica  Katiffmann. 


After  she  came  to  England  she  gave  up 
aquafortis,  and  adopted  the  English  method  of 
aquatint,  in  which  she  was  not  so  success- 
ful. Biraldi  says  that  the  great  English 
engravers,  Boydell  Brothers,  of  Cheapside, 
bought  the  coppers  upon  which  her  first  im- 
pressions were  printed ;  she  retouched  these 
for  them,  and  in  1780,  after  putting  them 
through  the  aquatint  ^  process,  they  were 
reproduced.  This  process  is  sometimes  called 
a  la  manure  de  lavis. 

In  1773  we  find  her  varying  her  usual  con- 
tribution of  immortals,  by  sending  to  the  May 
Exhibition  ^  only  two  mythological  pictures, 
the  others  being  portraits  and  a  Holy  Family. 
Considering  Angelicas  well-known  piety,  it 
was  strange  how  seldom  her  brush  was 
devoted  to  heavenly  subjects.  An  altar- 
piece  for  the  Parish  Church  at  Schwartzen- 
berg ;  the  frescoes  of  the  Twelve  Apostles, 
and  one  or  two  Holy  Families,  are  all  she 

*  This  process  consisted  in  pouring  over  the  copper  a 
preparation  which  bit,  so  to  speak,  into  the  work.  For 
this  purpose  the  engravers  used  salt  sand  mixed  with 
gum,  etc.    It  was  only  used  in  England. 

^  See  Appendix  for  complete  list  of  exhibits. 


Womanhood. 


149 


has  left  in  this  direction.  Nevertheless,  she 
would  have  seemed  eminently  fitted  by  the 
spiritual  tone  of  her  mind  to  portray  Celestial 
Love,  and  the  Beatitude  of  the  Saints.  A 
French  writer  says,  Her  heads  have  much  of 
the  divine,  majestic  beauty  of  Guido,  and  had 
she  preferred  Heaven  to  Olympus,  she  would 
have  attained  a  far  higher  degree  of  perfec- 
tion." 

The  explanation  lies  in  her  reverence  for 
sacred  subjects,  to  which  she  considered  her- 
self unworthy  to  give  expression.  In  one  of 
her  note-books  she  wrote  :  One  day,  when 
I  found  it  impossible  to  convey  to  my  canvas 
any  idea  of  the  majesty  of  Almighty  God,  I 
threw  down  my  brush,  saying,  Never  again 
shall  I  attempt  to  interpret  the  Divine,  which 
is  impossible  to  human  inspiration.  I  shall 
reserve  the  attempt  for  the  time  when  I  shall 
enjoy  Heaven,  supposing  always  that  there 
should  be  such  an  art  as  painting  there." 

If  Reynolds  s  noble  idea  of  decorating  St. 
PauPs  Cathedral  with  scriptural  subjects  had 
come  into  effect,  Angelica's  powers  in  this 
line  would  have  been  tested.    It  was  in  this 


1 50  Angelica  Kaitffniann. 


year  that  this  project  was  ventilated,  and  re- 
ceived the  hearty  approval  of  both  the  king 
and  Archbishop  of  Canterbury.  The  artists 
were  chosen.  Reynolds  was  to  paint  The 
Nativity/^  and  Barry,  Dance,  Cipriani,  and 
Angelica  Keiuffmann,  were  each  to  take  a 
subject.  Unfortunately,  the  narrow-minded 
bigotry  of  Terrick,  Bishop  of  London,  defeated 
this  noble  conception.  Everyone  knows  his 
answer  :  I  would  rather  close  the  doors  of 
the  Cathedral  for  ever,  than  open  them  to 
admit  Popery.*'  ^'Accordingly,"  as  Thackeray 
says,  *'the  most  clumsy  heathen  sculptures 
decorate  the  edifice." 

During  1773,  and  the  years  that  followed, 
Angelica's  work  as  a  portrait-painter  in- 
creased. Her  studio  was  crowded  with 
fashionable  sitters  ;  portraits  painted  during 
that  time  by  her  were  '*The  Duke  and  Duchess 
of  Richmond,"  ^' Jane  Maxwell  (Duchess  of 
Gordon),"     Earl  and  Countess   of  Derby," 

Countess  of  Albemarle/'     Marchioness  of 

Lothian,''  ^    Honourable  Charlotte  Clive,''  ^ 

*  Exhibited  at  the  Royal  Academy,  1888,  Marquis 
of  Lothian. 

2  Exhibited  at  the  N.P.E.,  1867,  Earl  of  Powis. 


Womanhood.  1 5 1 

the  Duke  of  Gordon/^  ^  Alleyne  FitzHer- 
bert/^^  the  lovely     Lady  Georgiana "  and 

Lady  Henrietta/'  with  Viscount  Althorp, 

only  son,  and  daughters  of  John,  ist  Earl 

Spencer.^     (There  is   another  portrait  of 

the     Duchess  of  Devonshire,*'  in  a  white 

dress  and  large  white  hat,  which  belonged 

to  Lord  Howard  de  Walden,  and  was  sold 

in  1869,  for  162/.) 

Mrs.  Hartley  s  lovely  face  and  lithe,  tall, 

delicious  figure,  had  won  her  in  a  short  time 

the  leading  place  at  Covent  Garden  Theatre, 

and  her  picture  by  Angelica,  which  is  now  in 

the  Garrick  Club,  is  wonderfully  graceful,  and 

little  inferior  to  that  done  by  Sir  Joshua  of 

the  same  lady.    Another  sitter,  Mrs.  Darner, 

was  equally  well  known  in  the  fashionable 

world.    She  was  the    Infanta"  of  the  eiters 

of  H.  Walpole,  whose  friendship  for  her 

father,  Field-Marshal  Conway,  is  a  refreshing 

trait  in  his  cynical  worldliness.    Mrs.  Darner 

was  everythingby  turns,  a  dilettante  artist  of  ex- 

^  Exhibited  at  the  Art  Treasures,  1857,  Duke  of 
Richmond. 

2  Exhibited  at  the  N.P.E.,  1867,  Sir  W.  Fitzherbert. 
'  For  particulars  of  exhibitions,  see  Appendix. 


152  Angelica  Kattffmann. 


ceptional  talent,  and  one  of  a  group  of''  Pretty 
Fellows/^  with  the  Duchess  of  Ancaster,  Mrs. 
Crewe  and  Mrs.  Bouverie,  at  the  Pantheon. 
Angelica's  portrait  of  Mrs.  Darner  is  in  the 
possession  of  Captain  Frederick  Erskine 
Johnston,  and  is  a  far  more  graceful,  pleasing 
likeness  than  the  prim  picture  painted  by  Sir 
Joshua  of  the  same  lady. 

The  portraits  the  artist  executed  of  herself 
are  numerous.V  Some  were  orders,  others 
gifts  to  friends,  as  in  the  case  of  Klopstock 
and  Bernini.  There  is  one  of  her  at  Althorp, 
another  at  Emo — both  presented  to  her  good 
patrons.  Lord  Spencer  and  Lady  Caroline 
Damen  She  gave  one  to  Isabella,  Duchess 
pf  Rutland,  one  to  the  Academy  of  St.  Luke, 
another  to  the  Uffizii  Gallery  at  Florence, 
Lord  Rosebery  has  one  at  Mentmore.  The 
Earl  of  Home  exhibited  a  portrait  of  her  at 
the  N.P.E.  of  1867.  So  did  the  Rev.  J.  E. 
Waldy.  Mr.  J.  Stokes  has  one.  Mr, 
Cheesman  exhibited  one  at  the  Suffolk  Street 
Exhibition  of  1833. 

Many  of  these  self  portraits  have  found  their 
^  See  supplement  to  Appendix. 


Womanhood. 


153 


way  to  the  sale  room.  In  1879  a  beautiful 
portrait  of  her  with  Clio  was  bought  at  the 
Bowles-Rushout  ^  sale  by  Lord  Leven  and 
Melville  for  160/.,  and  in  1876  Mr.  Henry 
Graves,  the  well-known  picture  dealer  of  Pall 
Mall,  bought  an  oval  portrait  for  100 
guineas.^ 

She  gave  a  large  full-length  portrait  of 
herself  to  the  Dresden  Gallery,  as  a  Vestal  ; 
to  Berlin  also  she  presented  one,  in 
which  she  is  dressed  in  an  ideal  costume, 
half  Muse,  half  Bacchante.  Her  head  is 
crowned  with  laurels,  the  dress  covered  with 
flowers,  with  a  gold  girdle  and  bracelets,  and 
an  expression  of  archness,  although  somewhat 
affected,  suits  the  beautiful  face  ;  the  colour- 
ing, which  is  reddish-brown,  recalls  that  of 
Mengs,  her  early  master.  From  this  pic- 
ture,^' says  Sternberg,  one  would  hardly  say 
that  she  had  been  a  beauty  ;  her  charm  lay 
in  her  youth,  her  freshness,  and  expression.** 

To  her  father  s  native  village  of  Schwart- 
zenberg  she  presented  a  portrait  of  herself 

*  For  particulars  of  Bowles-Rushout  sale,  see  catalogue. 

*  Mr.  Graves  sold  this  portrait  to  the  National  Portrait 
Gallery,  where  it  now  is. 


1 54  Angelica  Katcffmann. 


in  the  dress  of  her  own  canton,  a  copy  of 
which  will  be  found  on  the  first  page.  In 
this,  as  in  all  her  portraits,  the  extraordinary- 
length  of  her  mouth  is  remarkable. 

In  addition  to  her  portraits,  Angelica  for 
years  never  missed  exhibiting  at  the  Academy 
her  classical  or  historical  pictures. 

In  1774  Leslie  ill-naturedly  says  Angelica 
Kauffmann  as  usual  in  a  great  expanse  of 
washy  canvases,  six  classicals  and  a  portrait/'^ 
In  1775  she  sent  six  classicals  and  five 
portraits ;  of  the  former  were — 

Sappho. 

The  Despair  of  Achilles. 

Rinaldo  and  Armida  (Tasso). 

Andromache  fainting  at  the  sight  of  Eneas  (Virgil). 

The  Return  of  Telemachus  (Odyssey  xvii.). 

Horace  Walpole  says  of  the  Despair  of 
Achilles that  it  was     Very  good,''  but 

^  The  catalogues  of  the  Academy  from  1769,  which 
are  in  the  British  Museum,  were  a  bequest  from 
Mr.  Anderdon,  who  enriched  the  collection  with  all 
manner  of  details  and  portraits  (Grangerizing,  as  it  is  now 
called).  His  remarks  are  caustic  and  amusing;  he  is 
always  giving  hits  at  Angelica,  who,  he  says,  had  long 
and  beautiful  fingers.  Of  this  year's  exhibition  he  says, 
seven  of  the  Lady  Angelica's  work,  including  Sappho. 

^  From  the  Strawberry  Hill  Catalogue, 


Womanhood. 


against  the  Return  of  Telemachus  ^'  is 
written  Very  ill."  It  was  indeed  impos- 
sible all  could  be  good,  for  in  addition  to  these 
she  contributed  other  pictures  and  portraits 
— eleven  in  all. 

In  consequence,  perhaps,  of  this  large 
supply,  there  was  some  fuss  as  to  the  hang- 
ing. Her  father,  who  was  growing  old  and 
fidgety,  harassed  her  with  suspicions  as  to 
unfairness,  and  Angelica  carried  her  com- 
plaints to  Sir  Joshua,  who  took  her  to  see 
that  justice  had  been  done.  He  also  replaced 
the  four  which  had  been  omitted,  and  which 
are  to  be  found  in  the  appendix  to  the 
Academy  Catalogue  for  1775. 

This  year  was  marked  by  one  of  those  un- 
deserved insults  which  low  natures  have  it  in 
their  power  to  inflict  upon  those  who  suffer 
most  keenly  from  being  dragged  before  the 
public.  To  Angelica,  especially,  who  had 
endured  so  much  already,  and  whose  peculiar 
position  made  her  shrink  from  notoriety,  it 
was  doubly  painful  to  be  included  in  Hone's 
malevolent  attack  upon  the  President  of  the 
Academy.    This  artist,  whose  small  mind  was 


156  A ngelica  Kattffmann. 


full  of  envy  for  those  who  succeeded  better 
than  himself,  regarded  Reynolds  with  jealous 
eyes.  He  considered  that  he  stole  all  his 
ideas  from  the  old  Masters,  and  resolved  that 
the  world  in  general  should  be  acquainted 
with  the  theft/  He  sent  to  the  exhibition  of 
1775  a  picture  called  ''The  Pictorial  Con- 
jurer displaying  the  whole  art  of  Optical 
Deception/*  This  picture  has  been  variously 
described  as  an  old  man  with  a  wand  in  his 
hand,  commanding  the  engravings,  which 
Reynolds  used,  to  rise  out  of  the  flames ;  or 
as  an  old  man  with  a  wand  in  his  hand  and 
a  child  leaning  on  his  knee,  performing  in- 
cantations by  means  of  which  a  number  of 
sketches,  from  which  Reynolds  had  taken  hints, 
were  made  to  float  on  the  air  round  the 
wizard. 

When  the  picture  was  sent  in,  the  Council 
of  the  Academy  decided  to  reject  it,  not  so 
much  for  the  sneer  at  the  President,  but 

^  There  was  some  truth  in  the  allegation.  It  is  now 
well  known  that  Sir  Joshua  borrowed  very  freely  from 
the  old  Italian  school.  An  instance  in  point  is  Mrs. 
Sheridan  as  St.  Cecilia,"  in  which  the  idea  is  a  distinct 
plagiarism. 


Womanhood. 


157 


because  of  an  alleged  likeness  in  one  of  the 
floating  sketches  to  AngeHca,  who  was  repre- 
sented as  a  nude  figure.  There  was  general 
disgust  at  such  a  wanton  attack.  Angelica 
had  plenty  of  friends  to  take  up  her  defence, 
and  to  protest  against  this  insult  to  a 
woman  who  was  worthy  of  all  respect.^ 

Hone  being  thus  put  in  the  wrong,  wrote 
to  Angelica  : — 

Madam, — The  evening  before  last  1  was 
not  a  little  surprised  at  a  deputation  from  the 
Council  of  the  Academy,  acquainting  me 
that  you  were  most  prodigiously  displeased 
at  my  making  a  naked  academy  figure  in  my 
picture  of  '  The  Conjurer/  now  at  the  Royal 
Academy,  representing  your  person.  I 
immediately  perceived  some  busy  medler,^  to 
say  no  worse,  had  imposed  this  extravagant 
lie,  of  whose  making  God  knows,  upon  your 
understanding.  To  convince  you.  Madam, 
that  your  figure  in  that  composition  was  the 

*  This  striking  at  Reynolds  through  Angelica  would 
seem  to  lend  a  colour  to  the  suspicion  that  Hone  had 
been  engaged  in  the  "  complot "  or  conspiracy  to  which 
the  foreign  writers  allude.    See  page  102. 

^  Hone's  spelling. 


158  Angelica  Kaufintann. 

farthest  from  my  thoughts,  I  now  declare  I 
never  at  any  time  saw  your  works  but  with 
the  greatest  pleasure  and  that  respect  due  to 
a  lady  whom  I  esteem  as  the  first  of  her  sex 
in  painting,  and  the  loveliest  of  women  in 
person.    Envy   and  detraction   must  have 
worked   strangely,   for   yesterday  morning 
some  more  gentlemen  from  the  Academy 
assured  me  that  your  uneasiness  was  very 
great.     I    assured  them    I    could   so  far 
alter  the  figure  that  it  would  be  impossible 
to    suppose    it    a   woman,    though  they 
cleared  me  of  such  a  supposition  themselves, 
as  they  understood  it  to  be  a  male  figure,  and 
that  I  could  put  a  beard  to  it  or  even  dress 
It  to  satisfy  you  and  them.    I  did  myself  the 
honour  of  calling  twice,  when  I  had  the  mis- 
fortune not  to  meet  you  yesterday  at  your 
house,  purposely  to  convince  you  how  much 
you  have  been  mistaken,  as  you  will  perceive 
when  you  see  the  picture  itself,  and  likewise 
to  convince  you  with  how  much  respect, 
"  I  am,  Madam, 
''Your  most  obedient,  humble  servant, 

N.  Hone;^ 


Womanhood. 


To  this  Angelica  replied  in  the  following 
dignified  manner  : — 

**  Sir, — I  cannot  conceive  why  several 
gentlemen  who  never  before  deceived  me 
should  conspire  to  do  so  at  this  time,  and  if 
they  themselves  were  deceived,  you  cannot 
wonder  that  others  should  be  deceived  also, 
and  take  for  satire  that  which  you  say  was 
not  intended.  I  was  actuated,  not  only  by 
my  particular  feelings,  but  a  respect  for  the 
arts  and  artists,  and  I  persuade  myself  you 
cannot  think  it  a  great  sacrifice  to  remove  a 
picture  that  has  even  raised  suspicion  of  dis- 
respect to  any  person  who  never  wished  to 
offend  you/* 

Hone,  however,  thought  otherwise ;  he 
persisted  in  his  determination  to  appeal 
against  the  sentence  of  rejection,  and  when 
he  was  outvoted,  he  took  a  room  at  70,  St. 
Martin's  Lane,  and  there  exhibited  ''The 
Conjurer."  The  matter  did  not  drop  here. 
Hone,  who  was  resolved  to  give  as  much 
publicity  as  he  could  to  the  affair,  appeared 
before  Mr.  Addington,  the  Middlesex  magis- 


i6o  Angelica  Kattffmann. 

trate,  and  made  an  affidavit,  to  which  he 
attached  the  accompanying — 

N.B. — Thefiofure  said  to  have  been  Mrs. 
Angelica  Kauffmann  is  not  only  taken  out, 
but  all  the  other  naked  figures,  lest  they 
should  be  said  to  be  likenesses  of  any  par- 
ticular lady  or  gentleman  which  Mr.  Hone 
never  meant,  as  the  merit  of  the  picture  does 
not  depend  upon  a  few  smoked  Academy 
pictures  or  even  those  well-dressed  gentlemen 
who  supply  the  place  of  those  figures  said  to 
be  indecent,  though  Mr.  Hone  had  shown 
the  picture  to  ladies  of  the  most  refined  taste 
at  his  own  house/' 

Notwithstanding  these  disclaimers,  the 
sense  of  the  respectable  portion  of  the  artist 
world  was  against  Hone  and  his  picture. 
He  was  looked  upon  coldly  afterwards. 
Nollekens  some  years  later  expressed  the 
general  opinion:  ''You  are  always  running 
a  rig  against  Sir  Joshua,^'  he  says,  and  you 
may  say  what  you  please,  but  I  have  never 
had  any  opinion  of  you  since  you  painted 
that  picture  of  '  The  Conjurer,'  as  you  called 
it ;  and  pray  what  business  had  you  to  bring 


Womanhood. 


101 


Angelica  into  it  ?  for  the  rest  it  was  soon  for- 
gotten. It  was  originally  bought  by  a  French 
nobleman, who  resold  it  in  1790  to  Knight, 
under  the  title  of  A  Conjurer,  a  well-known 
Satirical  Subject,'^  for  15/.  15^.,  since  which 
time  it  has  been  consigned  to  well-deserved 
oblivion. 


M 


CHAPTER  VII. 
1776-1781. 

WOMANHOOD. 

For  the  Academy  of  1 776  Angelica  varied 
her  usual  programme  by  sending  only  one 
classical  subject,  and  two  taken  from  English 
history:  No.  155,  Eleanor  sucking  the 
Poison  from  the  wound  of  Edward  I.'^ ;  No. 
156,  Elizabeth  Grey  imploring  of  Edward 
IV.  the  Restitution  of  her  Husband's  Lands/' 

In  1777  Leslie  says  Angelica  was  liberal 
of  her  sentimentalities,  the  reason  for  this 
stricture  being  that  she  exhibited  one  of 
Sterne's  Maria,"  and  also  Sylvia  lament- 
ing over  the  favourite  Stag.'^  Both  were 
very  popular. 

In  the  following  year  she  struck  new 
ground  with  Leonardo  da  Vinci  expiring  in 
the  arms  of  Francis  the  First/'  and  in  1779 


Womanhood. 


163 


exhibited  a  large  canvas,  the  Death  of 
Procris/'  together  with  some  insignificant 
pictures,  one  being  Conjugal  Peace,"  ex- 
emplified by  two  ducks  in  a  basket. 

In  1780  she  produced,  in  addition  to  four 
classicals,  a  large  allegorical  picture  of '^Reli- 
gion." The  catalogue  sets  forth  that  the  sub- 
ject was  taken  from  the  Temple  of  Virtue," 
written  by  her  friend,  J.  Fordyce.^ 

The  Earwig,  an  amusing  satirical  paper 
of  the  day,  criticizing  Angelica's  work, 
remarks  that  her  allegories  have  too  much 
the  air  of  basso-relievo,  in  which  work  her 
designs  have  often  been  employed  with 
better  success  than  any  of  the  Moderns. 
Later   Canova   made  use   of  her  design, 

Cupid  drying  Psyche's  tears  with  her  own 
hair,"  when  the  full  beauty  of  the  grouping 
was  brought  into  view. 

Mention  has  been  made  of  Angelica's 
illustrations  and  decorations.  Both  were 
becoming  a  great  feature  of  art  in  England. 

^  James  Fordyce,  Minister  of  Alloa,  D.D.,  a  well- 
known  divine.  The  Temple  of  Virtue "  was  an 
allegorical  poem. 


M  2 


164 


Angelica  Kmtffmann. 


The  vignettes  of  the  books  of  the  day  were 
designed  by  the  best  artists,  and  men  like 
George  Taylor,  Carington  Bowles,  and  the 
Boydells  spared  no  expense  in  bringing 
out  the  finest  illustrations,  in  all  of  which 
Angelica  took  a  prominent  part.  In  her 
series  of  ''Moral  Emblems,"  published  by 
Taylor  she  produced  some  beautiful 
designs,  notably,  ''Life,"  "Omnia  Vanitas,'' 
and  ^'Hope,''^  which  last  was  engraved  by 
Ryland.  These  moral  emblems  ^  were 
always  accompanied  by  a  few  words  from 
the  artist,  which  shows  how  well  she  could 
express  herself  even  in  a  language  not 
her  own. 

''The  most  forcible  idea  of  Hope  is  to 
imagine  a  period  when  that  virtue  only  is,  or 
can  be,  in  action.  I  have  therefore  repre- 
sented Hope  as  a  woman,  supporting  the 
head  of  a  dying  pilgrim,  and  cheering  him 
with  the  expectation  of  a  future  felicity  and 
glory,  towards  which  she  points.  I  have 
introduced  an  anchor  as  an  emblem  of  Hope 

^  The  original  of  "  Hope  "  is  in  St.  Luke's  Academy, 
at  Rome;  it  was  painted  in  1764. 


Womafihood. 


165 


(although  it  is  seldom  a  graceful  object  in  a 
picture),  as  well  because  it  is  an  emblem 
generally  received,  as  because  St.  Paul, 
speaking  of  Hope,  terms  it  an  anchor  of  the 
soul,  nor  is  the  Improbability  of  its  intro- 
duction so  glaring  in  this  scene,  which  repre- 
sents the  ocean  side." 

The  vignettes  and  frontispieces  of  Bell's 

Poets  of  Great  Britain,"  and  Collins's 
Eclogues,"  together  with  vignettes  and  fron- 
tispieces of  novels,  and  a  series  of  engravings 
called  Practical  Exercises  and  Morning 
Amusements,"  came  into  her  work  during 
these  years.  Hamilton  published  a  volume 
entitled  Angelica's  Ladies'  Library,"  a  col- 
lection of  excellent  tales  illustrated  by  the 
artist  and  H.  Bunbury,  the  amateur  carica- 
turist. This  book  had  a  great  success  ;  the 
little  oval  woodcuts  are  charming. 

Angelica  likewise  designed  fans  such  as 
ladies  then  carried,  and  concert  and  masque- 
rade tickets,  some  of  which  were  engraved 
by  Bartolozzi. 

Her  most  important  undertaking,  how- 
ever, some  years  later  was  the  illustrations 


i66 


Angelica  Kattffmann. 


for  Boydell's  ^  Shakespeare  Gallery,'^  to 
which  all  the  first  artists  of  the  day  con- 
tributed— West,  Copley,  Romney,  Reynolds 
and  Fuseli."  Angelica  s  share  was  limited 
to  two  scenes,  one  from  the  Two  Gentlemen 
of  Verona  ;  "  the  other  from  Troilus  and 
Cressida." 

In  1780,  the  same  year  as  the  Gordon 
Riots,  the  Academy,  to  whose  first  exhibi- 
tion in  Pall  Mall  she  had  contributed  her  pic- 
ture Hector  and  Andromache,"  moved  its 
abode  to  Somerset  House,  the  front  wing 
facing  the  Strand,  where  now  the  prosaic 
Government  offices  are  installed.  The 
entrance  was  from  the  vestibule.  The  ex- 
hibition room  for  Sculpture  was  on  the 
ground  floor,  and  was  not  ornamented.  The 
ceiling  of  the  library  was  enriched  with  a 
painting  by  the  President,  a  figure  of 
Theory  holding  a  scroll,  with  the  words, 
Theory  is  the  knowledge  of  what  is  truly 
Nature.''^  There  were  four  figures  by  Cipriani 

*  See  Supplement  to  Appendix  for  original  letter  to 
Alderman  Boydell. 

^  When  the  Royal  Academy  was  removed  from 
Trafalgar  Square  to  its  present  habitation  the  paintings 


Womanhood.  167 

in  the  coves.  In  the  lecture  room,  where 
the  ceiling  was  by  West,  the  Graces  were  in 
the  centre,  the  Elements  round  them.  At 
each  end  of  the  ceiling  four  figures,  of  Genius, 
Design,  Composition,  and  Painting,  were  by 
Angelica,  who  ^  exerted  her  very  strongest 
powers  in  these  pieces,  which  possess  an 
infinite  deal  of  character  and  sweetness. 
Genius  is  finely  represented  leaning  upon 
the  celestial  globe,  and  expressing  rapture 
of  invention.  We  view  the  very  character 
which  Shakespeare  has  described  : 

*The  Poel's  eye,  in  a  fine  frenzy  rolling, 
Doth  glance  from  Heaven  to  Earth,  from  Earth  to 

Heaven, 
And  as  imagination  bodies  forth 
The  forms  of  things  unknown,  the  Poet's  pen 
Turns  them  to  shapes,  and  gives  to  airy  nothing 
A  local  habitation  and  a  name.' " 

Leslie  also  says  ^  that  these  pieces  were 
painted  in  a  more  masterly  style  than  any 

by  West,  Reynolds,  and  Angelica  were  also  carried 
thither.  Design  "  can  be  seen  in  the  Diploma  Gallery, 
set  in  an  oval  frame  ;  it  is  the  figure  of  a  young  girl 
drawing  from  a  torso.  The  three  other  designs  are  in  the 
cellars  ! 

^  From  the  Earwig\ 

^  Leslie's    Life  of  Sir  Joshua  Reynolds." 


1 68        -    Angelica  Kauffmann. 

of  Angelica's  former  productions ; perhaps, 
he  adds,  they  are  more  beautiful  because 
less  finished." 

This  was  about  the  last  work  of  importance 
undertaken  by  Angelica  in  England,  and  it 
is  a  proof  of  the  high  consideration  she  was 
held  in  by  those  who  were  capable  of  judging. 
Envious  and  neglected  artists  would  allege 
that  it  was  the  powerful  influence  of  fashion- 
able patrons  which  procured  her  this  associa- 
tion with  men  like  Reynolds  and  West ;  the 
answer  to  this  is  in  the  work  itself,  which 
is  still  to  be  seen. 

1 780  was  to  be  the  beginning  of  a  great 
change  in  Angelica's  life.  The  miserable 
man  who  had  crossed  her  path  fourteen  years 
before,  and  blighted  her  happiness,  died  in 
poverty  abroad.  His  death  came  at  an 
opportune  moment,  when  Angelica  had 
given  an  unwilling  assent  to  her  fathers 
wish  for  a  dissolution  of  her  unfortunate 
marriage.  For  many  years  she  had  ascer- 
tained that  her  union,  from  a  theological 
point  of  view,  had  not  been  a  valid  one. 
The  bishops  of  her  own  Church  were  of  one 


Womanhood.  1 69 


mind  as  to  this.  It  was  only  her  dislike  to 
re-opening  the  wretched  story,  which  was 
almost  forgotten,  that  stood  in  the  way  of  her 
freedom.  But  this  year  she  had  allowed  some 
steps  to  be  taken  towards  obtaining  the  Pope's 
consent  to  hearing  the  matter    in  camera/' 

It  is  hard  to  say  why,  after  so  many  years 
of  refusal,  she  did  agree  to  this.  It  might 
have  been  the  perpetual  harping  of  old 
Joseph  on  the  point,  or  perhaps  she  still  had 
a  hope  that  Sir  Joshua's  kindness  might  take 
a  warmer  phase,  were  she  known  to  be  free. 
But  in  the  year  that  followed  Brandt's  death, 
she  had  time  to  learn  that  her  wishes  had 
cheated  her  into  believing  what  did  not  exist. 

This  may  have  had  something  to  do  with 
her  listening  to  the  proposals  of  another 
suitor,  Antonio  Zucchi,  who,  report  said, 
had  long  been  in  love  with  her. 

The  Zucchis,  Antonio  and  Joseph,  were 
old  friends  of  the  Kauffmanns.  They  came 
of  an  ancient  Venetian  family,  which  had, 
however,    fallen   upon    evil    times. ^  Both 

'  There  is  in  the  British  Museum  an  old  Italian 
memoir  of  the  head  of  the  house. 


I  70  Angelica  Katiffma^tn. 


brothers  had  come  to  London  to  seek  their 
fortune,  and  had  secured  a  fair  amount  of 
consideration.  Antonio,^  the  elder,  was  not 
in  the  first  rank  of  artists,  but  he  was  a 
meritorious  painter  of  architectural  subjects,^ 
and  had  been  elected  an  Associate  of  the 
Royal  Academy  in  1770. 

He  was  a  proud,  reserved  man,  remark- 
able for  his  uprightness.  Rossi  distinctly 
says,  He  never  aspired  to  Angelica,  but 
was  very  much  in  her  society,  as  she  often 
worked  in  the  same  studio  with  him  and  his 
brother  Joseph,  the  engraver.  Old  Kauff- 
mann,  casting  about  for  a  husband  for  his 
child,  thought  well  of  Antonio,  knowing  his 
character." 

Fourteen  summers  had  come  and  gone 

^  Zucchi  had  formed  one  of  the  party  who  accom- 
panied Adam,  the  architect,  to  Dalmatia,  to  study 
the  architectural  remains  of  that  beautiful  city.  In  his 
younger  days  he  must  have  had  some  charm,  for  he  had, 
it  was  said,  several  advantageous  offers  of  marriage,  and 
ladies  of  position  fell  in  love  with  him. 

^  In  the  Knowsley  collection  there  are  two  large  pic- 
tures by  Antonio  Zucchi,  painted  for  the  12th  Earl  of 
Derby,  in  commemoration  of  the  marriage  of  Lord 
Stanley  with  Lady  Betty  Hamilton.  They  are  in  Piranesi's 
style. 


Womanhood. 


171 


since  the  June  day  in  1 766  when  Angelica 
had  first  seen  London.  Much  had  happened, 
many  changes  in  friends  and  lovers  ;  changes 
most  of  all  in  herself.  The  brilliant  girl, 
with  life  before  her,  and  ''a  wallet  full  of 
hopes  and  anticipations/'  was  now  a  sad- 
eyed,  careworn  woman,  who  had  suffered 
much,  and  learned  the  bitterness  of  disap- 
pointment. Still  she  was  content  ;  she  had 
lived  on  in  Golden  Square,  looking  at  the 
dingy  houses,  the  dusty  trees,  her  days 
full  of  work,  her  brush  ever  in  her  hand. 
Now  and  again  there  would  come  a  longing 
to  her  for  the  Italian  sky  which  she 
loved  so  well,  but  the  idea  of  a  journey  to 
Italy,  with  her  father  in  his  feeble  state, 
deterred  her  .from  putting  her  desire  into 
execution.^  Joseph  Kauffmann  was  getting 
very  old.  The  climate  of  England  did  not 
agree  with  him  ;  moreover,  he  had  suffered 
a  good  deal  from   the  annoyance   of  the 

^  Other  motives  weighed  with  Angelica  in  her  wish  to 
leave  England.  The  favour  of  the  public  is  ever  fickle, 
and  there  was  no  doubt  her  popularity  was  on  the  wane  ; 
new  stars  had  risen.  Mrs.  Cosway  was  now  the  favourite 
of  the  hour. 


1 72  Angelica  Kattffmann, 


Hone  business.  He  felt  anxious  as  to  his 
daughter  s  future,  for  if  he  died  she  would 
have  no  protector. 

Common  friends  conveyed  to  Zucchi  that 
were  he  to  seek  Angelica  for  a  wife,  he 
would  have  her  father^s  consent  to  the 
marriage,  which,  for  the  rest,  was  suitable 
and  advantageous  to  him.  He  therefore 
made  his  proposals,  which  Angelica,  out  of 
obedience  to  her  father,  accepted. 

In  September  Zucchi  wrote  to  Sir  Rowland 
Winn,  one  of  his  patrons,  to  announce  his 
approaching  marriage  ^  : — 

The  report  you  heard  of  the  intention  I 
have  to  enter  on  the  conjugal  state  is  not 
without  foundation,  and  I  hope  it  will  contri- 
bute much  to  my  felicity,  as  the  person  who 
is  to  be  my  companion  is  in  every  respect 
agreeable  to  my  wishes,  and  her  merit  as  an 
artist  is  sufficiently  known  to  the  world  by 
the  number  of  prints  published  after  her 
works.    I  shall  take  the  liberty  to  send  a 

^  The  letter  given  here  is  one  of  great  interest.  It 
was  found  amongst  the  correspondence  of  Sir  Rowland 
Winn  by  the  present  owner  of  Nostell  Priory,  Lord  St. 
Oswald:  it  is  a  proof  that  Zucchi's  feelings  were  not 
much  engaged,  but  that  he  considered  his  marriage  a 
good  speculation. 


Womanhood. 


173 


specimen  of  them  to  your  house  in  St.  James' 
Square,  and  shall  likewise  add  a  print  of  her 
own  portrait  painted  by  Sir  J.  Reynolds,  and 
engraved  by  Bartolozzi. 

Anthony  Zucchi. 
London,  September  6th,  1780." 

The  marriage  and  the  journey  to  Italy 
were,  however,  alike  postponed  by  the 
serious  illness  of  Joseph  Kauffmann.  In  a 
letter  Angelica  wrote  at  this  time  to  her 
friend,  Mrs.  Fordyce,  she  makes  no  mention 
of  Zucchi,  but  we  must  suppose  the  disap- 
pointment refers  to  him.  The  letter  is  in 
every  way  charming,  for,  amongst  her  other 
gifts,  Angelica  included  that  of  a  refined 
letter-writer,  expressing  herself  in  English 
clearly  and  even  elegantly.^ 

To  Mrs.  Henrietta  Fordyce,  Putney  Heath. ^ 

''Dearest  and  most  beloved  Friend, — 
'  After  all  the  hurry  and  preparation  for  my 

^  From  the  collection  of  Alfred  Morrison,  Esq. 

^  Henrietta,  wife  of  James  Fordyce,  D.D.,  author  of 
the    Temple  of  Virtue.'* 

*  This  letter  was  sold  in  1858  at  Waller^s,  for  15^.  On 
the  superscription  she  has  written  From  Angelica 
Kauffmann,  with  seal.  A  charming  specimen.''  From 
Anderdofis  Academy  Notes. 


1 74  A iigelica  Kattffmann. 


journey,  here  I  am  still — the  cause  of  the  disap^ 
pointment  is  for  me,  melancholy — yet  after  all 
I  have  the  comfort  to  be  amongst  my  friends. 

best  friend,  Dr.  William,  with  his  kind 
attention  to  my  father,  is  to  me  the  greatest 
consolation,  and  your  last  dear  letter,  my 
charming  friend,  revives  my  spirits  though 
ever  so  much  oppressed.  I  want  words  to 
express  what  I  feel.  All  I  can  say  is,  that  I 
shall  ever  esteem  the  continuation  of  the 
friendship  of  Henrietta,  James  and  William 
Fordyce,  the  greatest  honour  that  can  be 
conferred  upon  me,  and  to  merit  your  kind 
affection  shall  be  my  greatest  care.  Ah ! 
let  me  remain  for  ever, 

Yours,  Angelica. 

Golden  Square, 

October  30th,  1780.'* 

The  fatal  moment  of  parting  is  not  so 
near  as  I  thought  it  would  have  been.  So 
that  before  years  or  months  do  pass,  I  may 
have  the  happiness  of  seeing  you." 

That  the  fatal  moment  of  parting  did  not 


Womanhood. 


1/5 


take  place  for  ten  months  after  this  letter  was 
written,  is  evidence  that  Antonio  was  not  a 
very  ardent  lover.  Angelica  spent  the  winter, 
as  usual,  full  of  work.  For  her  elegant 
designs  in  house  decoration  she  had  long 
held  a  very  high  reputation,  and  some  of  her 
work  is  still  to  be  seen  fresh  as  on  the  day  it 
was  done. 

This  is  eminently  the  case  in  Sir  John 
Leslie's  fine  house  in  Stratford  Place,  built  by 
the  brothers  Adam  for  Lord  Aldborough,  for 
whom  it  was  decorated  by  Angelica.  Here 
are  three  ceilings  in  excellent  preservation. 
That  in  the  drawing-room  represents  the  His- 
tory of  Cupid,  done  with  exquisite  delicacy. 
The  dining-room  has  only  one  medallion,  in 
whichappears  Aglaia  bound  to  a  tree  by  Cupid, 
very  charmingly  executed.  An  additional  in- 
terest is  attached  to  this  medallion,  for  looking 
at  it  induced  one  of  our  most  charming 
novelists  to  write  an  idyllic  novel.  Dining 
one  day  with  us,''  writes  Lady  Constance 
Leslie  to  a  friend,  Miss  Thackeray's  atten- 
tion was  attracted  to  the  ceiling.  When  she 
was  told  by  Sir  John  the  story  of  Angelica 


176 


Angelica  Kaiiffmann. 


Kauffmann,  it  interested  her  so  much  that 
she  was  drawn  to  write  *  Miss  Angel/ 

Other  houses  decorated  by  Angelica  were 
those  of  Cosway,  the  Miniature  painter,  and 
Garrick  in  the  Adelphi ;  and  this  year, 
1781,  she  finished  the  adornment  of  Mrs. 
Montagues  new  house  in  Portman  Square, 
which  is  now  the  residence  of  Lord  Port- 
man.^ 

To  the  exhibition  of  1781  she  sent  Venus 
attended  by  the  Graces  ; The  Judgment 
of  Paris;''  and  the  portrait  of  a  Lady  as 
a  Muse.  Of  these  pictures,  the  Earwig 
said : — 

This  lady  seems  in  all  her  works  to  have 
copied  pictures,  prints  and  plasters — perhaps 
she  has  been  deterred  by  the  delicacy  of  her 
sex  from  studying  living  models/* 

As  a  proof  of  the  correct  judgment  evinced 
in  this  criticism  the  two  pictures  named, 
both  of  which  were  commissions  for  her  kind 
friend,  Mr.  Bowles   of  Wanstead,  fetched 

*  For  a  list  of  houses  decorated  by  Angelica,  see  Ap- 
pendix. 


Womanhood. 


177 


large  prices  at  the  Rushout-Bowles  sale  in 
1879. 

It  will  be  remembered  that  when  John 
Joseph  joined  Angelica  in  1769,  he  brought 
with  him  a  young  girl,  Rosa  Florini,  the 
daughter  of  his  only  sister,  to  whom  he  was 
sincerely  attached.  We  would  like  to  know 
more  of  Rosa :  she  was  pretty,  ^  gentle,  and 
Angelica  loved  her  as  a  sister,  but  she 
married  in  1775,  Joseph  Bonomi,  an  able 
draughtsman  and  architect,  and  we  hear 
little  more  of  her. 

In  the  marriage  column  of  the  Gentleman^ s 
Magazine  for  1781  appears — September  8, 
Signor  Zucchi  to  Senora  Angelica  Kauff- 
mann,  the  celebrated  historical  paintrcss!^  ^ 

I  have  now  lying  before  me  an  old  yellow 
parchment,  which  sets  forth  to  be  Indenture 
Tripartite  (or  Marriage  Settlement)  between 

^  She  sat  for  Angelica's  picture  of"  Faith,"  engraved 
by  Eyland.  Charles  Goldie,  Esq.,  has  a  pencil  drawing 
of  her  by  Angelica,  a  sweet  face  something  resembling 
Angelica.    For  Bonomi,  see  pages  404 — 407. 

^  They  were  probably  married  in  the  city,  there  being 
no  record  of  this  marriage  at  St.  James's,  Piccadilly,  nor 
would  it  be  likely  Angelica  w^ould  have  gone  there. 

N 


1 78  A ngelica  Katifimann. 


Antonio  Zucchi,  of  St.  Ann's  parish,  Soho, 
painter,  and  Angelica  Kauffmann,  of  Golden 
Square,  Bloomsbury,  painter,  on  the  other 
hand,  together  with  the  signatures  of  her 
trustees : — 

Deed  of  Trust  and  Marriage  Settle- 
ment, executed  on  July  loth,  1781,  21st  year 
of  George  Ilird,  between  Antonio  Zucchi, 
parish  of  St.  Ann,  Soho,  painter,  ist  part  ; 
Angelica  Kauffmann,  of  Golden  Square, 
painter,  Bloomsbury,  spinster,  2nd  part;  and 
George  Keate,  Esq.,  H.  Peter  Kuliff, 
merchant;  and  Daniel  Braithwaite,  of  the 
General  Post-Office,  3rd  part — 

**To  put  in  their  hands  as  trustees  the 
sum  of  3350/.  three  per  cent,  consolidated 
annuities,  and  1650/.  three  per  cent,  consoli- 
dated reduced  bank  annuities — 

For  the  use  and  benefit  of  said  Angelica 
Kauffmann,  whether  sole  or  covert.  And  to 
enable  her  to  enjoy  the  dividends  thereof, 
exclusive  of  the  said  Antonio  Zucchi,  her 
intended  husband,  '  who  is  not  to  intermeddle 
therewith,'  nor  is  any  part  thereof  to  be  sub- 
ject to  his  debts ;  and  is  also  to  give  her 


Womanhood. 


179 


power  to  leave  the  said  sums  by  will  as  she 
shall  appoint.    And  is  signed  and  sealed  by 

Antonio  Zucchi. 

Angelica  Kauffmann. 

George  Keate. 

Henry  Peter  Kuliff. 

D.  Braithwaite.'^  ^ 

Angelica  therefore  did  not  come  empty- 
handed  to  her  husband  ;  her  savings  accumu- 
lated  by  her  industrious  life  amounted  to 
5000/.  three  per  cents.,  bringing  in  one 
hundred  and  fifty  a  year. 

The  restrictions  in  the  marriage  settlement, 
and  especially  the  clause  as  to  intermeddling, 
could  hardly  be  pleasant  to  Zucchi:  he  sub- 
mitted to  them  at  the  time,  but  that  he 
nourished  a  grievance  against  his  wife  was 
made  evident  later  on.  On  his  side  he  was 
not  without  means.  He  had  a  house  in 
•  John  Street,  Adelphi,  which  he  let  at  90/.  a 
year  ;  he  had  150/.  a  year  in  short  annuities, 

^  Mr.  Braithwaite  held  a  position  in  the  Foreign 
Department  of  the  Post-office.  Angelica  made  him 
an  executor  of  her  will,  and  left  him  one  hundred 
pounds.   See  Appendix. 

N  2 


i8o  Angelica  Kauffmann. 


and  he  had  divers  sums  at  interest  and 
one  or  two  bad  debts. 

Angelica  and  her  husband  left  pictures  with 
their  man  of  business  for  sale,  and  every 
direction  was  given  in  a  clear,  business-like 
manner,  every  possible  contingency  being 
provided  for. 

All  this  being  done,  the  party  sailed  from 
England  on  July  19th,  it  being  nearly  to 
the  month  sixteen  years  since  Angelica 
had  arrived  there  with  Lady  Wentworthl 
It  had  been  a  shifting  scene,  brilliant, 
triumphant ;  but  the  triumph  was  saddened 
by  disappointment,  blighted  by  the  cruel 
fate  which  had  shadowed  the  best  years 
of  her  life,  a  fate,  moreover,  which  falls  to 
the  lot  of  few  women;  She  had  borne  it 
bravely,  and  now  there  remained  nothing  of 
the  sunshine  and  the  sorrow  of  the  last 
fifteen  years  but  the  memory.  So  it  is  with 
most  lives. 

Disraeli,  the  successful  author,  the  great 
statesman,  in  his  old  age  used  to  murmur,  as 
he  sat  thinking  of  the  past,  Dreams — all 
dreams. 


CHAPTER  VIII. 


1781— 1785. 

MIDDLE  AGE. 

The  travellers  went  in  the  first  instance  by 
Ostend  and  Brussels  to  Schwartzenberg  ; 
John  Joseph  had  a  restless  anxiety  to  find 
himself  once  more  in  the  Vorarlberg  amongst 
his  native  mountains.  He  had  all  his  rela- 
tions there,  and  at  first  the  joy  of  seeing 
them  and  of  being  out  of  cold,  damp  England 
revived  the  old  man.  Soon,  however,  he 
began  again  to  droop.  The  air  of  the  Tyrol 
was  too  keen  for  his  weakened  condition, 
and  he  had  to  try  a  warmer  climate.  They 
brought  him  therefore  to  Venice,  where  they 
arrived  early  in  October.  Here  Zucchi^s 
family  lived,  all  people  of  birth  and  cultiva- 


1 82  Angelica  Kattffmattn. 


tion.  Here,  too,  Angelica's  pictures  were 
well  known,  many  of  them  having  been 
engraved  by  Joseph  Zucchi. 

At  this  time  the  grand  Duke  and  Duchess 
Paul  of  Russia  (afterwards  Emperor  and 
Empress)  were  staying  in  Venice  under  the 
name  of  Count  and  Countess  du  Nord.  As 
soon  as  they  heard  of  Angelica's  arrival  they 
expressed  a  wish  to  visit  her  studio,  and 
at  once  conceived,  especially  the  duchess,  a 
friendship  for  her.  Angelica  had  two  pic- 
tures  half  finished,  orders  for  an  English 
nobleman  ;  one  was  from  the  old  Saxon 
history,  the  other  a  replica  of  Leonardo  da 
Vinci  dying  in  the  arms  of  Francis  Ist."^ 
The  royal  visitors  admired  both  so  much  that 
nothing  would  satisfy  them  until  Angelica 
let  them  have  them.  The  grand  duchess 
overpowered  her  with  thanks,  embraced  her, 
and  assured  her  these  pictures  should  be  the 
greatest  ornament  of  her  apartment,  as  well 
for  their  merit  as  because  they  would  re- 

^  The  original  of  this  picture  she  had  exhibited  at  the 
Royal  Academy  Exhibition  of  1778. 

It  was  during  her  stay  in  Venice  that  she  painted 
her  own  portrait  as  Design,  listening  to  the  suggestions 
of  the  Muse  Clio,  for  G.  Bowles^  of  Wanstead. 


Middle  Age. 


183 


mind  her  of  her  charming  friend,  Madame 
Zucchi;'  1 

When  these  honours  were  known,  all 
Venice  flocked  to  Angelica's  studio.^  She 
had  more  orders  than  she  could  take,  for  she 
had  brought  with  her  many  commissions 
from  England.  Nevertheless  \  she  painted 
several  of  the  grand  Venetian  ladies,  also 
the  youthful  Almoro  Barbaro. 

This  pleasant  sunshine  was,  however,  soon  to 
be  darkened.  In  Venice  Angelica  experienced 
the  great  sorrow  of  losing  her  father.  The 
simple,  kindly  old  man  died  January,  1782, 
feeling  happy  in  leaving  his  daughter  with 
so  good  a  husband.  Angelica  felt  his  loss 
bitterly,  and  for  a  time  nothing  would  rouse 
her  from  her  grief,  which  was  increased  by 
the  death  in  the  following  month  of  her  aunt, 
Rosa  Bonomi's  mother,  who  had  come  to 
Venice  to  nurse  her  brother  John  Joseph  in 
his  last  illness.  Zucchi,  seeing  his  wife 
overwhelmed  by  these  two  misfortunes, 
wisely  considered  that  the  best  remedy  for 

^  This  is  an  odd  phrase,  but  is  in  Rossi. 

2  ''There  was  a  regatta  in  honour  of  the  Duke  and 
Duchess ;  every  one  saw  the  royahies  coming  out  of  the 
studio.    The  next  day  all  Venice  came." — Zucchi's  MSr 


184  Angelica  Katcffmann. 


sickness  of  either  mind  or  body  lies  in 
change  of  scene  ;  he  therefore  resolved  to 
take  Angelica  away  from  a  place  which  was 
now  so  full  of  sorrow  for  her.^ 

Their  original  plan,  discussed  before  leaving 
London,  had  been  to  settle  ultimately  in 
Naples.  They  had  arrived  at  this  conclusion 
from  different  reasons,  one  being  that  for  a 
permanent  home.  Rome,  although  it  was 
^'ever  in  Angelica's  thoughts, was  not  the 
climate  best  suited  for  one  of  her  delicate 
constitution. 

Already  their  heavy  baggage  had  gone 
by  sea  to  Naples,  and  thither,  in  the  month 
of  April,  they  proceeded,  stopping  for  a  short 
time  at  Rome. 

At  Naples  the  old  story  was  renewed. 
The  queen, ^  who  was  herself  an  artist  and 
whose  apartments  contained  many  engrav- 
ings of  Angelica's  pictures,  overwhelmed  the 
Zucchis  with   attentions.     She  wished  .to 

^  John  Joseph  left  some  money  amounting  to  3500/., 
which  was  inheritedby  his  only  child  and  heiress,  Angelica 
Kauffmann  Zucchi,  together  with  all  his  pictures  and 
personalities.    He  made  no  will.    See  Appendix. 

^  Caroline,  daughter  to  Maria  Theresa,  married  to 
Ferdinand  II.,  King  of  Naples 


Middle  Age. 


185 


keep  Angelica  always  with  her,  and  offered 
her  a  post  at  court.  This,  however,  Ange- 
lica, whose  mind  was  full  of  her  recent  loss, 
and  who  at  all  times  was  adverse  to  a  life  of 
courtly  etiquette,  refused. 

She  could  not,  however,  get  out  of  under- 
taking a  large  picture  of  the  royal  family. 
Angelica  accepted  the  commission,  but  was 
wholly  unequal  to  the  task  of  completing  it. 
Moreover,  with  the  restlessness  of  grief, 
she  had  taken  a  longing  to  return  to  Rome, 
and  there  fix  herself  for  life.  It  was  the 
lodestar  which  had  attracted  her  back  to 
Italy,  and  there  she  felt  she  must  live  and 
die.  The  desire  was  shared  by  Zucchi ; 
they  therefore  left  Naples,  Angelica  having, 
as  was  her  manner,  made  studies  only  of  the 
heads  for  the  royal  picture  which  was  to  be 
finished  in  Rome. 

At  this  time  Rome  (then  in  the  very 
height  of  its  grandeur)  was  full  of  celebrities 
from  all  countries.  The  English  flocked 
there  with  pockets  full  of  money,  as  eager  to 
patronize  artists  and  buy  their  pictures  as 
the  Americans  are  now.  Most  of  these  rich 
patrons  found  their  way  to  Angelica's  studio. 


1 86  Angelica  Kattffinami. 


Many  of  them  she  had  known  during  her 
residence  in  England,  others  brought  intro* 
ductions. 

Her  picture  of  the  royal  family  of  Naples 
attracted  numerous  visitors,  amongst  them 
the  Emperor  of  Austria,  Joseph  II.,  who  was 
highly  pleased  with  the  portraits  of  his 
family.  He  desired  the  artist  to  be  presented 
to  him,  and  when  he  heard  she  was  German, 
or  rather  Austrian,  by  birth,  expressed  great 
satisfaction  that  she  was  amongst  his  subjects.-^ 
His  Majesty  gave  a  royal  commission  for 
two  large  paintings  for  the  gallery  at  Vienna, 
with  the  express  desire  that  they  might  be 
finished  as  soon  as  possible ;  the  choice  of 
subject,  size  of  figures,  etc.,  being  left  to 
the  artist.  Angelica  frankly  confessed  that 
she  had  to  finish  a  large  picture  for  the 
Empress  Catherine  of  Russia,^  which  she 

^  Rossi  says,  The  success  made  by  Angelica  caused 
a  commotion  amongst  the  artists  in  Rome,  whose 
jealousy  was  excited  by  seeing  a  woman  carry  all  before 
her.'' 

^  The  subject  was  Servius  Tullius  as  a  child,"  a 
miraculous  flame  playing  round  his  head.  The  picture 
was  of  gigantic  size,  the  figures  life-size. 


Middle  Age. 


187 


had  promised  should  be  put  aside  for  no 
one.  The  emperor  had  therefore  to  wait 
for  nearly  two  years. 

Karl  Theodor,  Archduke  of  Bavaria,  and 
the  Austrian  Archduchess  Amalia  of  Parma, 
also  honoured  her  with  commissions.  Such 
an  amount  of  work  would  have  overpowered 
anyone  not  endowed  with  the  supply  of 
energy  possessed  by  Angelica,  who  was 
never  so  happy  as  when  her  whole  time  was 
spent  in  her  loved  art.  A  letter  she  wrote 
this  year  to  her  friend  Doctor  William 
Fordyce  is  written  with  evident  enjoyment  of 
her  busy  life,  and  has  all  that  tenderness  which 
makes  the  charm  of  her  correspondence  : — 

To  Dr.  \Vm.  Fordyce, 
Warwick  Street, 
Golden  Square, 
Ingilterra.  London. 

Rome,  December  28th,  1782. 
^    It  is  impossible  to  describe  how  very 
desirous  I  was  to  receive  a  line  from  the 

^  The  orthography  of  this  and  all  other  letters  remains 
unaltered. 


1 88  Angelica  Kattffinann, 

friend  I  so  much  value  and  respect,  and 
whose  kind  attention  to  me  and  to  those  who 
were  dear  to  me,  I  shall  never  forget. 
You  cannot  imagine,  best  of  friends,  with 
how  much  pleasure  I  peruzed  your  letter.  I 
was  surprized  first  of  all  to  see  from  whence  it 
was  dated.  I  rejoiced  to  find  you  was  at  this 
side  of  the  Chanel — I  was  in  hopes  you  had 
resolved  to  cross  the  mountains — but  ah ! 
all  my  hopes  were  over  when  I  came  to  the 
part  of  the  letter  where  you  say  that  you  were 
just  returning  to  London.  However,  I  hope 
it  is  written  in  the  Book  of  Destiny  that 
somewhere  or  other  we  shall  meet  once  more 
upon  this  globe,  the  which  I  believe  I  could 
quit  contented  if  once  more  I  could  pass  a  few 
happy  hours  with  the  all-harmonious  Triad. 

I  am  sorry  to  hear  that  your  worthy 
brother  James  enjoys  but  indifferent  health, 
pray  remember  me  to  him  and  to  his  most 
amiable  consort,  my  charming  friend.  Mr. 
Zucchi  and  I  never  think  of  the  happy 
moments  we  enjoyed  with  ye,  without  re- 
greting  the  time  we  lost  in  being  so  late 
acquainted  with  the  most  worthy,  the  most 


Middle  Age. 


amiable  of  human  kind,  where  good  hearts 
and  good  heads  are  united  together  with 
which  one  so  seldom  meets.  For  the  love 
of  friendship  do  not  forget  us — believe  me, 
tho  w^e  are  so  distant,  our  hearts  and  souls 
are  frequently  in  society  with  yours. 

"  I  am  more  then  I  can  say  obliged  to  you 
for  the  kind  notice  you  take  of  my  couzins, 
the  Bonomis.  Mr.  Bonomi  tells  me  in  every 
letter  he  writes,  how  much  you  are  his  friend, 
and  that  often  he  has  the  honour  to  be  in- 
vited to  your  table ;  that  you  assist  them 
with  your  kind  advize  in  their  indispositions. 
The  goodness  of  your  heart  has  no  limits. 
Mr.  Zucchi  and  I  have  spent  the  whole 
somer  at  Naples,  where  I  had  the  honour  to 
paint  all  the  royal  family — the  greatest  atten- 
tion were  shown  to  me,  the  queen  in  particu- 
lar in  occasiones  expressed  herself  much  in 
my  favour.  The  portraits  of  the  royal  family 
are  all  to  be  in  a  large  picture  which  consists 
of  the  king,  the  queen,  three  princes  and  four 
princesses.  Having  finished  all  theliknesscs 
at  Naples,  I  shall  finishe  the  rest  at  Rome, 
the  residence  of  the  arts.    However,  I  have 


190  Angelica  Kauffmann. 


promised  to  return  to  Naples  as  soon  as  I 
have  finished  that  great  work,  to  present  it 
myself  to  the  soverains  according  to  the 
desire  they  expressed.  In  regard  to  health, 
thank  God,  I  am  well,  but  Mr.  Zucchi  has 
been  troubled  with  fqavers  last  summer,  and 
the  air  at  Naples  deed  not  so  well  agree  with 
him.  He  is  much  better  since  we  returned 
to  Rome,  where  we  are  just  fixing  ourselfs 
in  winter  quarter  in  one  of  the  finest  situa- 
tions, Sopra  la  Trinita  del  Monte,  which 
I  dare  say  you  remember.  Accept  my 
sincerist  wishes  for  the  beglning  of  a  happy 
new  year.  May  health,  and  every  other 
happynes  and  contentment  never  leave  you. 
Render  my  sincerist  wishes  acceptable  to 
my  friend,  your  brother,  and  his  beloved 
companion,  the  charming  Henrietta,  the 
friend  of  my  heart.  Oh  that  I  could  begin 
the  year  with  ye,  that  would  be  enough  to 
end  it  happy — for  a  good  begining  brings  a 
good  end. 

Now  remember  it  is  in  your  power  to  give 
me  real  satisfaction  with  a  few  lines  by  which 
I  hope  you  will  always  have  it  in  your  power 


Middle  Age. 


191 


to  tell  me  that  you  enjoy  the  most  perfect 
health. 

Mr.  Zucchi  desires  me  to  present  his 
sincerist  thanks  to  you  for  your  kind  re- 
membrance of  him,  and  begs  you  will  render 
his  compliments,  indeed  he  says  his  most 
affectionate  compliments  acceptable  to  the 
two  friends  above-named.  Remember  us 
both  to  your  friend  Mr.  Brithingam.  Excuse 
a  long  tedious  letter,  but  I  found  time  always 
too  short  conversing  with  you  :  which  pleasure 
I  wish  to  live  to  enjoy  again.  Adieu,  best  of 
brothers  and  friend,  let  me  hear  from  you  as 
often  as  you  can,  and  believe  that  I  shall 
never  cease  to  be 

Your  most  affectionate  friend,  sister,  and 
triiely  obliged 

"Angelica  Kauffmann-Z. 

P.S. — A  letter  recomended  to  the  care 
of  Monsieur  Barazsi,  Banchiere  a  Ro7na, 
wil  be  safe  delivered  to  me.'' 

In  the  spring  of  1783,  Angelica  fulfilled 
her  promise  of  returning  to  Naples.  Jour- 


192  Angelica  Kattffmann. 


neying  thither  with  her  husband,  they 
brought  with  them  the  picture  which  she 
had  painted  of  the  royal  family,  which  was 
duly  admired  by  the  court. 

The  queen  was  overjoyed  to  have  her 
dear  Madame  Zucchi  ^'  back  again,  and 
made  much  of  her,  lending  her  for  her  use 
the  Franca  villa  Palace,  which  was  eminently 
suited  for  the  abode  of  an  artist.  On  one 
side  there  was  a  lovely  garden,  on  the  other 
the  most  splendid  view^  over  the  far-famed  Bay 
of  Naples.  Every  day  the  most  tempting 
offers  were  niade  to  induce  Angelica  to  re- 
main permanently,  which  she  refused  ;  at  last 
Her  Majesty  made  a  request  that  it  was  im- 
possible to  decline,  that  during  her  stay  the 
artist  would  give  some  lessons  in  drawing 
to  the  young  princesses.  The  queen  was 
always  present  at  the  lessons,  and  was  more 
and  more  charmed  with  the  sweetness  of 
Angelica.  When  the  royal  party  removed 
to  Caserta,  she  again  tried  to  induce  the 
Zucchis  to  follow  her  there  ;  Angelica,  how- 
ever, returned  to  Rome  laden  with  presents 
of  costly  jewellery,  and  orders  for  another 


Middle  Age. 


193 


picture/  intended  as  a  present  for  the  queen's 
sister,  the  Archduchess  Christina,  and  an 
historical  portrait  of  the  Duchess  Corigliano. 
She  Hkewise  sent  to  England  three  pictures, 
which  are  set  down  in  the  catalogue  of  the 
Incorporated  Society  of  Artists,  and  exhibited 
in  their  rooms  in  Suffolk  Street  under  the 
following  heading : — 

From  Madame  Kauffmann,  Naples. 

A  Lady  and  Child  as  Venus  and  Cupid.^ 
A  Cupid  and  a  Hebe. 

She  returned  once  more  to  Naples  in  the 
summer  of  1784,  and  resumed  her  course 
of  instruction  to  the  princesses.  This  was, 
however,  her  last  visit  ;  the  task  of  teaching, 
always  irksome,  became  doubly  so  in  her 
case,  as  after  the  hours  spent  at  her  easel  she 
needed  rest  of  mind  and  body.  The  worry 
of  imparting  to  beginners  the  rudiments  of 

^  She  was  given  the  title  of  Court  painter  to  her 
Majesty  of  the  two  Sicilies.  There  was  no  fixed  emolu- 
ment by  Angelica's  own  wish,  who  left  it  to  the  Queen's 
generosity.  She  had  a  court  carriage  for  her  own  use. 
— ZuccMs  Memoirs. 

^  The  portrait  of  Lady  Northwick  and  child — a  com- 
mission  from  George  Bowles,  of  Wanstcad.  See  Ap- 
pendix, 

O 


194 


Angelica  Katiffmann. 


an  art  she  loved  so  well,  fretted  her  beyond 
endurance,  it  having  the  additional  burden  of 
being  hedged  in  by  all  the  trammels  of  court 
etiquette.  The  strain  became  unbearable, 
and,  Angelica  s  patience  growing  exhausted, 
she  laid  the  matter  before  the  queen  and 
besought  her  to  release  her  from  her  engage- 
ment, assuring  her  that  with  a  more  patient 
and  less  preoccupied  teacher  the  princesses 
would  make  greater  progress.  The  queen 
acceded  to  her  request  with  regret,  and  her 
young  scholars  parted  with  her  in  tears. 
Nevertheless  she  never  returned  to  Naples, 
which  is  rather  a  significant  fact,  and  would 
look  as  if  her  royal  patroness  had  been  some- 
what offended.  Gering,  however,  relates  that 
she  always  spoke  of  the  queen  and  her  sister-in 
law,  the  Empress  of  Austria,  with  the  utmost 
affection  and  gratitude,  and  that  her  apartment 
in  Rome,  which  was  a  museum  of  curiosities, 
w^as  full  of  mementoes  and  gifts  from  the 
royal  family  of  Naples.^  From  the  time  of 
her  return  from  Naples,  Rome  was  now  her 

^  The  Queen  gave  her  a  beautiful  ornament  with  the 
name  of  her  Majesty  in  bnl\imts,—Zucc/a's  Metiioirs, 


Middle  Age. 


195 


abiding-place,  and  except  for  short  absences 
she  never  left  it,  dying,  as  she  had  wished, 
within  its  walls.  It  was  a  strange  love  she 
ever  had  for  this  ancient  city,  which  was,  as 
she  often  said,  mistress  of  her  heart,  and  satis- 
fied all  the  artistic  desires  of  her  nature.  Here 
everything  noble  and  good  in  her  seemed 
to  blossom  into  greater  perfection  ;  she  was 
like  a  plant  or  flower  which  has  been  trans- 
planted from  ungenial  soil  to  air  and  sunshine, 
and  both  her  art  and  her  inner  life  flourished. 
As  a  wife  she  appears  to  have  been  in  the  first 
years  of  her  married  life  tolerably  happy. 
Zucchi,  although  morbidly  sad  and  visionary, 
was  a  kind  husband  and  a  model  of  conjugal 
virtue.  As  is  often  the  case  with  marriages 
contracted,  as  theirs  was,  from  no  warmth 
of  love,  but  with  a  groundwork  of  nmtual 
liking,  both  being  of  good  disposition, 
their  esteem  for  one  another  increased  ; 
Angelica  recognized  his  worthy  while  he 
surrounded  her  with  much  thoughtful  care. 
Rossi  says  that  Antonio  reverenced  his 
wife's  talent,  and  knowing  that  time  was 
infinitely   precious   to  her,  he  took  upon 

o  2 


196  Angelica  Kattffmann. 

himself  the  care  of  all  household  matters, 
so  that  her  mind  should  be  free  from 
anxiety,  and  that  he  was  always  at  hand  to 
give  help  and  advice  in  her  work.  He 
had  excellent  judgment,  and  was  possessed 
of  great  knowledge  in  the  rules  of  art. 
Angelica  consulted  him  ^s  to  the  be- 
ginning, arrangement,  and  completion  of  her 
pictures. 

Every  artist  who  possesses  modesty 
enough  will  acknowledge  how  useful  it  is 
to  have  beside  one  an  intelligent  critic,  who 
can  decide  whether  an  idea  should  be  acted 
upon  or  abandoned,  or  suggest  some  improve- 
ment which  will  perfect  the  whole.  Angelica, 
being  rapid  in  grasping  a  situation,  was 
much  helped  by  the  more  solid  judgment 
of  her  husband,  and  the  improvement  which 
is  visible  in  her  work  in  later  years  dates 
from  the  time  of  her  residence  abroad. 
There  is  more  strength  in  the  composition, 
the  lines  are  firmer,  the  colouring  not  so 
brilliant. 

The  amount  of  work  which  Angelica  got 
through  must  always  suggest  a  certain  hurry 


Middle  Ap-e. 


which  is  inimical  to  perfection  of  finish,  but 
it  must  be  remembered  she  had  been  accus- 
tomed to  work  from  her  childhood.  Rossi 
says  she  commenced  with  almost  (in  summer) 
the  dawn  of  day,  and,  with  the  exception  of 
a  light  meal,  continued  until  the  light  failed. 
She  gave  a  certain  portion  of  her  time  to 
religious  exercises,  being  of  a  most  devout 
turn  of  mind,  and  she  would  occasionally 
visit  the  antiquities  of  the  city,  or  go  for  a 
few  hours  into  the  country.  The  evenings 
were  always  given  to  society,  of  which  she 
had  the  choice  of  the  very  best  in  Rome. 
Her  house  in  the  Arco  di  Regina  was  a 
museum,"  ^  being  filled  with  paintings  and 
objects  of  art,  many  of  them  the  gifts  of 

^  Goethe  in  his  Italienische  Reise  "  says  :  Angelica 
has  given  herself  the  gratification  of  buying  two  pictures, 
one  by  Tizian  the  other  by  Pan's  Botirdon^  both  at 
high  prices.  Since  she  is  rich  enough  not  to  diminish 
her  income,  which  every  year  increases,  it  is  right  she 
should  have  every  pleasure."  This  is  a  mistake  for  Paris 
BordonCy  and  in  the  last  edition  of  the  Italienische 
Reise  "  the  error  is  corrected  by  the  editor.  The  paint- 
ing represented  a  young  woman  standing  between  two 
old  men  who  present  her  with  a  looking-glass.  Angelica 
mentions  it  in  her  will,  wherein  she  directed  several 
paintings  and  objets  d'art  to  be  sold  for  the  poor. 


198  A  ngelica  Kau ffmann . 


her  royal  patrons.  Here  came  all  the 
savants,  artists  and  noblesse  of  Rome  :  the 
habitues  were  such  men  as  Backert,  the 
celebrated  landscape  painter,  Volpato,  the 
famous  engraver,  with  his  beautiful  daughter, 
Raphael  Morghen,  the  celebrated  engraver. 
Cardinal  Spina,  Goethe,  Gering,  the 
Grand  Duchess  Amalie  von  Weimar,  Rath 
Rieffenstein,  M.  Seroux  d'Agincourt,  writer  of 

U  Art  par  les  Monumens,'^  and  many  others. 
The  circle  was  ever  increasing  through  the 
fresh  arrivals  of  distinguished  strangers, 
who  found  their  way  at  once  to  Madame 
Angelica.  She  herself  had  all  the  gifts  which 
make  a  hostess  successful  ;  she  spoke  four 
languages  well,  her  imagination  was  lively, 
her  wit  keen.  Yet  her  sweetness  of  manner 
was  never  betrayed  into  offensive  severity, 
nor  did  she  ever  speak  in  decisive  tones 
upon  matters  of  art,  but  seemed  always 
ready  to  listen  to  what  others  said  and  to 
learn  from  them,  example  worthy  of  imita- 
tion by  some  of  the  loud-voiced  maitresse 
femmes  of  our  own  time.    Gering,  in  his 

Book  of  Italian  Travels,''  talks  of  Angelica's 


Middle  Age. 


amiability  of  manner  and  of  her  tranquil 
mind,  which  showed  itself  in  her  charming 
countenance,  where  every  thought  of  her 
tender  soul  could  be  read.  She  preserves/' 
he  goes  on,  her  true  German  nature  whilst 
living  under  a  foreign  sky,  and  her  memory 
tenderly  cherishes  her  own  country." 

Rossi,  who  was  a  constant  visitor  at  the 
Zucchis,  describes  the  society  gathered  at  her 
receptions  as  comprising  all  that  could  make 
a  salon  successful  for  in  addition  her  love 
for  music  drew  round  her  the  most  dis- 
tinguished musicians. 

I  remember,"  he  says,  to  have  heard 
there  the  greatest  artists  of  the  day  com- 
peting with  one  another  in  the  desire  to  give 
Madame  Angelica  pleasure.  The  two  cele- 
brated Italian  Improvisatrices,  Fortunato 
Fantastico  and  Therese  Bandettini,  gave 
some  of  their  most  exquisite  performances, 
encouraged  by  the  appreciation  of  the  artistic 
circle  in  which  they  found  themselves." 

Goethe,  however,  who  was  rami  intinie  in 
the  Zucchi  household,  gives  a  less  pleasant 
account.        Angelica,"    he   says,      is  not 


200  Angelica  Kauffmann. 

as  happy  as  she  deserves  to  be,  or  as  her 
great  talent  merits,  and  with  the  fortune 
which  she  daily  earns  she  is  herself  weary  of 
painting  for  sale,  but  her  old  husband  finds 
it  profitable  that  she  should  do  so.  She 
would  prefer  to  have  more  leisure  to  prepare 
her  work  with  more  care  and  study,  and  she 
ought  to  have  it.  They  have  no  children 
and  have  no  necessity  to  save,  and  she 
should  have  only  a  certain  quantity  of  work 
to  do  every  day.  This,  however,  is  not  the 
case,  and  never  will  be.  She  speaks  very 
openly  to  me,  and  I  have  given  her  my 
opinion  and  my  advice,  and  I  try  to  cheer 
her  up  when  I  am  with  her.  Those  who  fear 
want  and  misfortune  when  they  have  sufficient 
do  not  know  how  to  enjoy  good  fortune." — 
Goethe^  s    Italienische  Reisey'  vol.  ii. 


CHAPTER  IX, 


1785— 1789. 

MIDDLE  AGE. 

The  year  1785  brought  a  fresh  influx  of 
work.  The  Emperor  Joseph's  order  had  been 
completed.  The  subjects  of  the  two  pictures 
being  left  to  the  artist's  choice,  were  of  course 
drawn  from  a  classical  source  :  *  The  Return 
of  Arminius,  welcomed  by  Thusnelda  after 
his  victory  over  Varus,"  and  The  Lament 
of  the  youthful  Pallas."^  The  figures  were 
two-thirds  natural  size,  and  the  emperor, 
being  much  pleased,  paid  for  them  with 
royal  munificence.^ 

^  Both  pictures  are  in  the  Belvedere  Gallery  at  Vienna. 

^  He  sent  Angelica  a  beautiful  diamond  ornament 
with  his  cypher  in  diamonds  ;  also  a  gold  snuff-box  highly 
ornamented. 


202  Angelica  Kauffmann. 


From  Moscow  she  received  a  fresh  com- 
mission. Catherine  II.  was  a  magnificent 
patron  of  art ;  she  wished  for  a  companion 
picture  to^'Servius  Tullus,'^  which  had  arrived 
in  Russia,  and  met  much  commendation,  and 
for  her  Angehca  painted  '^Achilles  discovered 
by  Ulysses  in  the  disguise  of  a  Woman,'^  a 
picture  which  has  been  engraved,  and  is 
to  be  met  with  often.  Prince  Poniatowski,  a 
well-known  virtuoso,  sat  for  his  portrait  in  an 
allegorical  character,  which  so  pleased  his  uncle, 
the  King  of  Poland,  that  he  ordered  a  large 
picture.    Angelica  chose  for  him  as  subject, 

Virgil  Reading  the  ^neid  before  Augustus 
and  his  sister  Octavia." 

Up  to  this,  by  some  strange  omission, 
Angelica  had  received  very  little  patronage 
amongst  the  Italians;  a  circumstance  which 
was  noted  by  her  fellow-artists,  and  which 
caused  no  little  mortification  to  herself. 
The  portraits  of  the  Duke  and  Duchess  of 
Ceci,  that  of  Volpato,  the  eminent  engraver, 
and  his  daughter-in-law,  Nathan  and  David'' 
for  Cardinal  Zelado,  and  two  or  three  por- 
traits was  all  of  her  work  to  be  found  in 


Middle  Age. 


203 


the  Roman  States.  In  this  year,  however, 
Cardinal  Ignatius  Boncompagni  was  ap- 
pointed Secretary  of  State  to  Pope  Pius  VI. 
The  cardinal  was  a  man  of  great  talent  and 
artistic  tastes,  and  as  his  post  gave  him  all 
powers,  he  wished  to  beautify  the  holy 
house  of  Loretto,  and  for  this  purpose 
employed  the  best  artists  in  Rome  to  con- 
tribute pictures  of  their  own  design. 
Amongst  them  he  included  Angelica,  who 
received  the  commission  joyfully,  although 
the  price  given  was  small  in  comparison  to 
what  she  was  in  the  habit  of  receiving.  It 
was,  she  thought,  a  gratifying  proof  of  the 
esteem  in  which  she  was  held,  to  be  selected 
amongst  the  native  artists,  and,  in  addition, 
the  place  in  which  her  work  was  to  be 
placed  was  so  celebrated  as  to  ensure  its 
immortality.  The  painting  was  to  represent 
Saint  Joachim  and  Saint  Anna,  with  Mary  as  a 
child;  the  figures  were  to  be  life-size.  Ange- 
lica has  given  a  Grecian  character  to  the 
picture.  She  represents  the  Holy  Child  as 
watering  a  bunch  of  lilies,  her  eyes  raised 
to  Heaven,  while  a  halo  plays  upon  her  head. 


204  Angelica  Kauffmann. 


Joachim,  struck  with  astonishment,  points 
out  the  miraculous  appearance  to  Anna,  who, 
full  of  pious  rapture,  praises  the  Almighty. 

The  work  was  well  received  by  the  public, 
and  the  Pope  expressed  himself  gratified. 
He  wished  to  visit  Angelica  in  her  studio, 
but  Rossi  says  he  was  deterred  by  the 
jealousy  of  the  inferior  artists,  who  envied 
the  popularity  of  one  who  belonged  to 
another  nation. 

Four  years  had  now  passed  since  she  had 
left  England.  During  this  time,  with  the 
exception  of  a  small  picture,  Modesty,'' 
exhibited  in  1782,  Angelicas  name  had  not 
appeared  in  the  catalogue  of  the  Royal 
Academy.  In  the  May  of  1786  we  find 
the  following : — 

86.  Cornelia,  the  Mother  of  the  Gracchi,  pointing  to 

her  children  as  her  treasures. 
196.  Virgil  Writing  his  own  Epitaph. 
214.  Pliny  the  Younger  at  Misaenum.^ 


^  These  three  pictures  were  commissions  for  George 
Bowles  of  Wanstead,  (See  catalogue.)  A  replica  of 
the  Mother  of  the  Gracchi "  was  painted  for  Prince 
Poniatowski,  as  a  companion  to  Brutus  passing 
Sentence  on  his  own  Son." 


Middle  Age. 


205 


''Cornelia"  had  a  great  success;  it  was 
warmly  praised  by  the  critics.  Goethe, 
who  saw  it  in  the  artist's  studio,  calls  it  a 
most  natural  composition — a  happy  inspira- 
tion. Sternberg,  on  the  other  hand,  falls 
upon  it  with  more  than  his  usual  acrimony. 

In  this  way,"  he  goes  on,  ''did  she 
paint  her  famous  (famous  only  in  England) 
'  Mother  of  the  Gracchi,'  which  raised  her 
fame  to  the  highest  point,  and  which  is,  in 
fact,  nothing  more  or  less  than  a  cold 
unfaithful  representation  of  a  fine  subject, 
dressed  up  with  modern  sentiment,  and 
presenting,  as  the  Roman  Matron,  a  modern 
drawing-room  lady.  The  '  Mother  of  the 
Gracchi  *  has  the  most  striking  likeness  to 
Lady  Wentworth,  the  friend  and  patroness 
of  our  artist  ;  the  children  are  the  sons  of  the 
Duke  of  York,  only  without  powder  and 
breeches,  nevertheless  their  hair  dressed  and 
their  limbs  most  respectably  draped.  The 
lady  with  the  jewels,  who  leans  negligently 
against  an  Io7tian  pillar^  is  undoubtedly  the 
Queen's  Mistress  of  the  Robes;  the  scene  is 
a  park  in  Regent  Street/' 


206 


Angelica  Kauffmann, 


Some  justification  of  Sternberg's  hard  criti- 
cism will  be  found  in  the  prices  reaHzed  by 
these  pictures.  At  the  sale  of  the  Bowles- 
Rushout  collection  in  1879,  the  Mother 
of  the  Gracchi"  was  sold  for  47/.,  ''Virgil 
Writing   his   own   Epitaph,''  for  99/.,  and 

Pliny'^  for  59/. 
'  That  the  mere  monetary  value  is  not  a 
legitimate  standard  for  art  is  no  doubt  true. 
Many  a  good  work  has  been  before  now 
knocked  down  for  half  its  value  by  the 
auctioneer's  hammer,  but  this  would  be 
where  there  would  be  an  ignorant  crowd, 
not  in  the  case  of  a  choice  collection,  such 
as  was  the  Rushout.  At  this  same  sale  Lady 
North  wick's  portrait,  also  by  Angelica,  fetched 
the  large  price  of  850/.  It  would  therefore 
seem  to  be  clear  that  the  judges  of  to-day 
supported  Sternberg's   opinion    as   to  the 

Mother  of  the  Gracchi.'' 

In  1788  and  1789  she  was  full  of  work  as 
ever:  an  altar  piece  for  the  town  of  Bergamo, 
the  family  of  the  Duke  of  Holstein  Beck,  from 
which  Morghen  made  a  splendid  engraving, 
and  the  PriaceSvS  of  Aahalt  Dessau  were 


Middle  Age. 


207 


amongst  the  subjects  undertaken.  She  sent 
to  the  Royal  Academy,  1788,  Bacchus 
teaching  the  Nymphs  to  make  verses.^' 
Zucchi,  who  was  getting  anxious  for  the 
health  of  this  zealous  bread-winner,  now 
took  for  her,  as  a  surprise,  a  villa  at 
Castel  Gandolfo,  a  most  charming  summer 
residence,^  in  the  hope  that  she  would  with- 
draw occasionally  from  her  work,  and 
enjoy  perfect  rest.  Angelica  liked  the 
idea  in  theory,  but  found  it  impossible  to 
put  it  into  practice  ;  she  made  little  or  no 
use  of  her  husbands  present,  and  finally  it 
was  resold. 

1788  was  marked  by  the  beginning  of  a 
friendship  with  Goethe,  which  soon  developed 
into  a  warm  attachment.  The  young  Ger- 
man, then  in  the  zenith  of  his  creative  power, 
had  come  to  Rome  suffering  from  one  of  his 
unfortunate  attachments.  He  lived  a  hermit's 
life,  calling  himself  by  another  name.  Like 

^  Goethe,  in  his  Italienische  Reise,*'  gives  a  pleasant 
account  of  this  watering  place,  where  one  leads  the 
life  usually  led  at  such  places  ;  there  arc  lively  girls  and 
agreeable  women.  In  the  evening  we  go  to  the  play 
tout  commit  chc^  vous^  only  under  a  delicious  sky.'' 


2o8  A^igelica  Kattffmann. 

all  poets,  he  wanted  sympathy.  This  Ange- 
lica readily  gave  him.  It  was  natural," 
says  a  charming  German  writer,  ''that  he^ 
the  favourite  of  the  Graces,  should  be,  so 
soon  as  he  came  within  her  spell,  attracted 
by  this  sweet  impersonation  of  womanly 
grace.'' 

There  is  no  doubt  that  Goethe  was 
attracted  in  a  great  degree.  He  schwarmt," 
to  use  a  German  expression,  in  all  his  letters 
home,  over  this  charming  creation,''  whom 
he  calls  Angelica,  or  Fra  Angelica.^  She  is 
so  dear,  so  good  to  me,"  he  writes.  I  go 
often  to  her,  especially  when  I  am  in  a 
thoughtful  mood,  and  have  no  one  to  whom 
I  can  open  my  mind.  It  is  now  settled  that 
I  go  there  every  Sunday ;  after  dinner  we 
visit  the  galleries.  You  cannot  conceive 
what  real  enjoyment  there  is  in  seeing 
pictures  with  her.  Her  eye  is  so  educated, 
and  her  knowledge  of  the  mechanism  of  art 
so  great,  her  feeling  of  the  beautiful  so  pro- 
found, and  she  is  so  inconceivably  modest," 

Again  he  says,  She  has  something  of 
1  It  is  written  thus  in  Goethe's  letters. 


Middle  Age. 


209 


the  nature  of  Fra  Angelico,  whose  mind  was 
so  full  of  heavenly  images,  which  he 
depicted  with  such  fidelity,  that  it  was  im- 
possible for  him  to  give  any  idea  of  a  demon. 
So  it  is  with  Angelica,  a  villain  she  could 
not,  for  the  life  of  her,  convey  to  her  canvas. 
Her  works  are  the  outcome  of  a  lovely 
imagination,  a  pure  soul — for  the  rest,  she  is 
mistress  of  her  pencil,  excels  in  colouring, 
which  is  much  appreciated  here." 

In  another  of  his  letters  home  he  gives  an 
account  of  a  party  he  gave  in  her  honour. 

Angelica,"  he  says,  '*nevergoes  to  the  theatre, 
for  what  reason  I  do  not  inquire,  but  as  we 
talked  much  to  her  of  the  music  of  Cimarosa, 
and  she  desired  ardently  to  hear  it,  we 
resolved,  Bury  ^  and  I,  to  procure  her  as  much 
satisfaction  as  could  be  got  from  a  musical 
representation.  Bury,  who  knew  many 
artists,  and  Kapell-meister  Kranz,  from 
Weimar,  a  violinist  of  much  merit,  studying 
now  in  Rome,  arranged  the  representation. 

'  A  young  German  artist  who  lived  in  the  same  apart- 
ment with  Goethe.  He  became  later  a  distinguished 
portrait  painter. 

P 


2IO  Angelica  Kauffmann, 


I  had  in  the  upholsterers  and  confectioners, 
and  we  had  a  charming  concert  on  the 
loveHest  summer  s  night.  Madame  Angelica, 
her  husband,  Hofrath  Rieffenstein/  Volpato,^ 
Jenkins,^  and  all  who  have  been  civil  to  us, 
were  invited  ;  under  the  windows  a  crowd 
collected  and  applauded  the  difYerent  mor- 
ceaux  as  if  at  the  opera/'  ^ 

Poets,  of  all  men,  need  sympathy,  and  , 
Goethe,  whose  nature  was  more  highly  strung 
than  was  even  Byron's,  found  in  the  company 
of  his  gifted  countrywoman  the  rest  and  the 
help  he  required.  The  sentimental  tendency 
of  her  mind,  which  has  been  so  found  fault 
with,  was  to  him  an  additional  charm,  and 
the  pleasure  he  experienced  in  her  society 
was  all  the  greater ;  he  made  her  the 
confidante  of  his  poetical  dreams,  and  the 
judge  of  his  works.    In  his  correspondence 

'  Johann  Friedrich  Ricffenstein,  the  guide  and  coun- 
sellor  of  all  strangers  visiting  Rome,,  his  knowledge  of  art 
rnd  antiquities  qualifying  him  for  the  office.  He  stood 
equally  well  with  the  German  and  Russian  courts. 

^  An  eminent  Italian  engraver, 

^  An  English  commission  agent  and  art  dealer. 

^  From  Goethe's  correspondence. 


Middle  Age. 


'2  I  I 


there  is  constant  mention  of  his  reading 
his  pieces  to  her ;  he  read  to  her  his  Iphi- 
genia,"  which  had  been  talked  of  amongst 
his  friends,  ^'  and  this  coming  to  the  ears 
of  Angelica  and  Herr  Rieffenstein,  nothing 
would  content  them  but  I  should  give  them  a 
reading.  I  had  to  read  the  whole  piece, 
which  pleased  my  audience  far  better  than  I 
had  hoped ;  even  Herr  Zucchi,  from  whom  I 
had  expected  little  or  no  sympathy,  gave 
most  cordial  approval.  This  shows  me 
plainly  that  the  piece  is  constructed  in  the 
manner  which  has  been  long  acceptable  to 
the  Greeks,  Italians,  and  French,  and  which 
suits  these  nations  best.  The  English  alone 
have  not  accustomed  themselves  to  these  in- 
novations." 

On  another  occasion  he  writes  to  her  one 
of  his  charming  little  notes  : — 

Pour  Madame  Angelica. 

It  seems  that  in  the  studio  of  the 
Tedeschi  we  go  from  one  extreme  to  the 
other.  Last  week  we  drew  men  as  God 
created   them,  this  week   they  are  to  be 

P  2 


2  12  Angelica  Kauffmann. 

clothed  in  iron  and  steel ;  with  this  preface, 
I  introduce,  dearest  friend,  a  request.  Do 
you  possess  a  copper-plate  which  represents  a 
hero  in  complete  armour,  that  is,  armed  from 
head  to  foot  ?  If  so,  I  beg  you  will  lend  it 
to  me  for  a  few  days. 

I  am  working  at  a  tale  of  enchantment, 
which  I  hope  to  read  to  you  on  Sunday,  if  I 
am  fortunate  enough  to  find  you  at  home.  I 
do  not  ask  you  to  forgive  me,  for  I  know  I 
have  a  general  pardon. 

Farewell,  my  best  friend, 

Goethe.^' 

The  tale  of  enchantment  referred  to  is 
**Egmont."  He  describes  reading  it  to  her 
and  Rath  Rieffenstein.  Herr  Zucchi  was 
pressed  to  stay,  and  did  so,  because  his 
w^ife  wished  it.  Angelica's  impressionable 
soul  was  deeply  touched — she  has  such  won- 
derful perception  and  delicacy  of  mind." 
He  paid  her  the  high  compliment  of  con- 
sulting her  as  to  the  vision  seen  by  Egmont 
in  his  dream.^ 

^  Egmont,  who  headed  the  revolt  of  the  Netherlands 
against  the  Spaniards,  is  condemned  to  death  by  the 


Middle  Age. 


213 


On  Sunday/^  he  says  in  his  Italienische 
Reise/'  I  went  to  Angelica  and  laid  before 
her  my  doubts  as  to  the  vision.  She  has  the 
piece,  and  has  been  studying  it,  and,  oh,  how 
I  wish  you  could  have  seen  how  tenderly, 
and  with  what  womanly  tact  she  went  into 
the  whole  subject.  She  says  she  is  convinced 
that  it  is  right  that  Clarchen  should  express 
what  is  taking  place  in  the  hero's  mind,  and 
that  no  words  could  give  greater  force  or 
testify  more  clearly  how  much  he  loved  and 
cherished  her,  than  did  this  dream  in  which 
the  beloved  one  appeared  to  him.  Yes  !  it 
must  have  gladdened  his  heart,  that  she, 
whose  whole  life  had  been  a  waking  dream 
of  love,  should  now  keep  watch  over  him  in 
this,  his  last  sleep." 

There  is  no  denying,"  says  Sternberg, 
''that  it  was  a  great  honour  for  the  artist, 
that  Goethe  should  have  taken  her  judgment 

Duke  of  Alba^  the  Spanish  Governor.  The  night  before 
his  execution  he  sees  in  a  dream  Clarchen  (who  has 
killed  herself  not  to  survive  him),  who  places  a  crown  of 
laurel  leaves  on  his  head  and  gives  him  to  understand 
that  his  death  is  not  in  vain,  for  that  his  country  will 
recover  its  freedom. 


2  14  An^  elica  Katiffmann . 


upon  so  critical  a  point.  Nevertheless,  what 
can  we  think  of  her  comprehension  of  the 
matter,  when  we  have  before  us  the  incom- 
prehensible frontispiece/  which  she  produced 
for  this  same  '  Egmont/  of  which  she  spoke 
with  so  '  much  tenderness  and  womanly  tact '  ? 
Her  mind,"  he  goes  on,  was  not  capable  of 
retaining  a  deep  impression,  or  of  producing 
it  upon  others.  She  was  emotional,  if  you 
will,  but  too  feeble  to  be  capable  of  conveying 
that  emotion  to  her  canvas." 

Before  he  left  Rome,  Goethe  sat  to  the 
artist  for  his  portrait,  which  was  not  success- 
ful. ''It  is  a  very  pretty  fellow,  but  it  has 
no  trace  of  me,"  wrote  Goethe  to  his  friends, 

and  Angelica  is  much  vexed  at  the  failure.'' 

Wesseley  remarks ''that  the  high  estimation 
in  which  she  held  the  divine  gift  of  the  poet, 
very  likely  interfered  with  her  reproduction 
of  his  genius  on  her  canvas." 

When  the  time  for  saying  farewell  to 
Italy  came,  Goethe  seems  to  have  had  the 

^  Goethe  dedicated  the  first  copies  of  Egmont"  to 
AngeUca,  and  she  designed  the  frontispiece.  See  page 
220. 


Middle  Age, 


215 


tenderest  feelings  towards  the  artist,  who 
preserved  all  her  charm,  although  she  was 
in  her  forty-eighth  year. 

Now  that  I  am  leaving  Rome/'  he  writes, 

I  feel  that  I  could  wish  to  bind  myself  by 
closer  ties  to  this  fascinating  woman. ^ 

This  is  rather  a  strange  expression,  con- 
sidering that  Angelica  was  already  bound  in 
matrimonial  ties,  but  license  must  always  be 
given  to  a  poet's  language. 

Oppermann,  in  his  Bregenzer  Wald," 
says,  ''that  it  was  well  known  that  Goethe's 
admiration  for  Angelica  was  such,  that,  had 
she  been  free,  he  would  have  made  her  his 
wife,  and  that  a  marriage  with  her  would  have 
given  that  repose  to  his  life  which  was  want- 
ing in  his  union  with  the  Vulpina,  but  that  such 
was  not  possible,  as  the  artist  was,  at  the 
time  of  Goethe's  visit  to  Rome,  the  wife  of 
Zucchi." 

^  In  the  *'  Italienische  Reisc  "  he  says : 

''2  March,  1788. 
.    **My  departure  grieves  three  persons.    I  quit  them, 
too,  with  sorrow.    In  Rome  I  have,  for  the  first  time, 
found  my  real  self,    I  have  been  happy,  and  these  three 
have  worked  in  their  different  ways  to  this  effect." 


2 1 6  Angelica  Kattffmann. 


Stolberg,  in  his  characteristics  of  Angelica, 
says,  **that  the  relations  between  Madame 
Angelica  and  Goethe,  during  his  visit  to  Italy, 
require  to  be  more  clearly  defined.  There 
is  no  doubt/'  he  goes  on,  ''that  in  a  love 
episode,  in  which  the  poet  played  the  principal 
part,  Angelica  filled  the  role  of  go-betweenf 
and  in  consequence  of  this  affair,  before  her 
death,  she  burnt  any  correspondence  which 
would  throw  light  on  that  or  any  other  delicate 
subject."  ^ 

It  would  seem,  therefore,  that  although  Stol* 
berg  was  right,  iji  so  far  as  the  love  episode 
was  in  question,  Oppermann  goes  nearest  the 

^  This  is  an  allusion  to  a  certain  love  episode  of 
Goethe^s  with  a  pretty  Milanese  during  his  stay  at  Castel 
Gandolfo.  The  girl  was  engaged^  but  the  poet  took  to 
teaching  her  English,  and  evidently  won  her  affections. 
In  his  journal  he  tells  the  story  in  his  usual  frank  fashion 
of  dealing  with  his  love  affairs,  adding,  "  Angelica  is  good 
and  obliging  as  she  always  is."  Later  on,  in  Rome,  he 
meets  the  Milanese  in  company  with  Angelica,  who  was  a 
friend  of  hers.  He  says  he  was  amused  at  Madame 
Angelica's  efforts  to  show  off  the  girl  to  advantage  ;  but 
already  the  fickle  poet's  fancy  had  passed.  It  revived 
again,  however,  when  he  paid  the  Milanese  a  farewell 
visit.  Although  it  shows  the  nature  of  the  man,  there 
was  in  all  this  nothing  serious  or  that  would  necessitate 
burning  letters. 


Middle  Age. 


217 


truth  as  to  Angelica.  Some  letters,  which  have 
been  lately  published  by  the  Goethe  Society, 
and  which  include  fifteen  from  Angelica 
to  Goethe,  prove  only  too  clearly  how  deep 
was  the  attachment  on  her  side.  Though  it 
was  half  due  to  admiration  for  his  genius,  and 
wholly  platonic,  it  nevertheless  seems  to  have 
coloured  every  thought  of  her  mind  for ' 
years.  The  more  extraordinary  perhaps,  is  it, 
that  she,  in  the  maturity  of  her  charms,  should 
have  attracted  a  man  seven  years  younger 
than  she  was  ;  such  things,  however,  are  not 
unknown,  and  do  not  bear  argument.  The 
poet's  fancy  was  not  lasting,  he  was  by  nature 
V  inconstant,  and  Angelica  s  efforts  to  keep  her 
memory  green  in  his  heart  are  painful  read- 
ing. For  the  rest,  these  letters  are  most  inter- 
esting :  they  give  us  an  insight  into  the  inner 
life  of  this  gifted  and  unhappy  woman. ^ 
That  her  marriage  had  been  one  of  con- 
venience and  mutual  arrangement,  explains 
much.  Zucchi,  although  admirable  as  a 
major-domo,  was  not  a  husband   to  suit  a 

^  Unhappy  in   the   sense   of  not  being  suited  to 
Zucchi. 


2i8  Angelica  Kanj^mann. 

woman  of  Angelica's  sensitive  nature  ;  she 
wanted  sympathy — he  had  none  to  give  ;  he 
was  gloomy,  silent,  prematurely  old.  Rossi, 
who  stands  up  for  his  countryman,  says  he 
adored  Angelice,  not  as  a  wife,  but  as  an 
artist,  therefore  he  surrounded  her  with  every 
care  and  comfort ;  he  nursed  her  in  fact  as  he 
would  a  commercial  speculation.  She  was  the 
bread-winner,  and  should  be  kept  in  good 
health  ;  he  even  allowed  her  now  and  then  to 
make  purchases,  but  it  was  all  a  matter  of  busi- 
ness. It  cannot  be  wondered  at  that  Angelica 
felt  she  had  made  a  mistake,  and  that  after 
she  came  to  know  Goethe,  who  was  then  in 
possession  of  all  his  wonderful  gifts,  her  life 
seemed  to  grow,  as  she  says,  insupport- 
able. 

The  letters,  which  are  all  interesting,  would 
nevertheless  .be  too  long  to  find  place  in  this 
volume  ;  a  selection  has  therefore  been  made, 
the  first  being  written  immediately  on  Goethe 
leaving  Rome  : — 

*^Den  loth  May,  '88. 
Dearest  Friend, — Parting    from  you 


Middle  Age, 


has  penetrated  my  heart  and  soul  with  grief ; 
the  day  of  your  departure  was  one  of  the 
most  sorrowful  of  my  life,  only  for  the  dear 
lines  you  wrote  to  me  before  you  started, 
and  for  which  I  have  already  thanked 
you. 

Now  again  I  thank  you  from  my  heart 
for  your  letter  from  Florence,  which  I  looked 
for  with  longing.  A  few  nights  ago  I  dreamt 
that  I  had  received  letters  from  you,  and  that 
I  felt  consoled  and  said,  '  It  is  well  that  he 
has  written,  else  I  would  soon  have  died  of 
grief.^ 

I  am  content  to  know  you  are  well ;  may 
heaven  continue  to  keep  you  thus.  I  live 
such  a  sad  life,  and  because  I  cannot  see  what 
I  most  desire,  all  and  everyone  is  indifferent 
to  me,  except  perhaps  our  good  friend, 
Rieffenstein,  with  whom  I  can  speak  of 
you. 

The  Sundays,  which  once  were  days  of 
joy,  have  become  the  saddest  days — they  seem 
to  say  we  return  no  more,  but  I  will  not  believe 
this  ;  the  words  '  return  no  more,'  sound  too 
hard.    Now  I  will  say  not  another  sorrowful 


2  20  Angelica  Kauffmann. 


word.  Do  you  know  I  have  something  of 
yours  upon  which  you  bestowed  great  care  ;  I 
have  to  thank  the  good  Schutz  ^  for  this  trea- 
sure. Your  little  pine  tree  stands  now  in  my 
garden,  and  is  my  dearest  plant.  One  thing 
more  I  have,  which  I  destined  for  you  before 
it  was  mine — the  figure  of  which  I  have 
spoken  to  you — the  Muse.^  I  am  only  wait- 
ing for  a  good  opportunity  to  send  it  to 
you.  You  will  help  me  in  this,  for  it  would 
be  a  thousand  pities  if  it  should  meet  any 
injury. 

I  have  made  some  alteration  in  the  design 
for  the  title  page,^  also  I  have  made  it  some- 
what larger.  I  recollected  that  I  had  said  to 
you  that  I  could  myself  engrave  it  on  the 
copper ;  it  is,  however,  a  long  time  since  I 
have  done  etching,  and  I  know  not  how  it 
might  succeed,  and  the  proofs  would  take  a 
long  time  before  I  could  be  sure  of  success, 
consequently  I  should  be  glad  to  know  if  the 
design,  which  will  be  finished  to-day,  should 


^  Johann  Georg  Schutz,  landscape  painter. 

2  See  pages  226,  233. 

^  Of  "  Egmont,"  engraved  by  Lips. 


Middle  Age. 


221 


be  given  to  Herr  Lips/  or  sent  to  you.  I 
shall  wait  your  directions. 

In  Florence  you  have  seen  many  beautiful 
things  which  you  will  one  day  tell  me  of. 
Zucchi  thanks  you  heartily  for  your  kind  re- 
membrance of  him,  and  desires  to  continue  in 
your  regard  ;  we  speak  every  day  of  you.'' 

She  then  goes  on  to  mention  some  com- 
missions Goethe  had  entrusted  her  with,  and 
winds  up  with  these  curious  words  : — 

Give  me  the  only  satisfaction  I  can  now 
enjoy,  that  of  hearing  from  you  often. 
When  I  know  that  you  are  well  and  content, 
I  will  try  and  reconcile  myself  my  fate. 
Farewell,  my  dear  friend,  keep  me  in  your 
thoughts. 

Angelica.'' 

Here  is  a  second  letter,  conceived  in  even 
more  passionate  language,  and  written  on  the 
1 7th  of  May  : — 

I  thank  you  a  thousand  times,  my  dear 
friend,  for  the  joy  your  letter  from  Florence 

^  Painter  and  engraver.  Studied  under  Lavater. 
Professor  in  the  Academy  of  Weimar. 


222 


Angelica  Kattffmann. 


has  given  me.  Your  commissions  I  have 
handed  over  to  our  good  Rath  Rieffenstein, 
and  I  have  made  your  excuses  to  him  and 
Abbate  Spina  ;  both  love  you  dearly,  but  who 
can  help  doing  that  ?  I  am  not  at  all  pleased 
with  Herr  Kayser ;  ^  he  has  left  you  very  much 
alone,  and  evidently  prefers  the  library  to 
your  society.  Ah  !  if  I  were  in  his  place ! 
and  how  I  envy  him  !  It  is  true  that  in  spirit 
I  am  often  as  near  you  as  your  own  shadow, 
but  let  the  power  of  imagination  be  ever  so 
strong,  it  yet  remains  only  an  imagination. 
If  I  had  known  your  address  I  would  have 
written  to  Florence.  You  will  find  my  answer 
to  your  first  letter  at  Milan,  but  I  cannot 
leave  your  last  without  an  answer.  I  forget, 
however,  what  has  happened  since  you  left.. 
When  I  think  of  you  I  grow  confused.  I  sit 
with  the  pen  in  my  hand,  have  much  to  say, 
v/ould  wish  to  say  much  to  you — every  pulse 
of  my  heart  suffers  and  comiplains.  But  of 
what  use  is  all  this  1  nothing  I  can  say  will 

^  Christoph  Kayser,  a  German  composer  of  merit, 
came  to  Rome  to  write  the  music  for  the  opera  of 
"Egmont;' 


Middle  Age, 


223 


bring  you  back  to  me!  It  were  better  that 
I  remained  silent  ;  your  feeling  heart  can 
imagine  the  rest. 

Since  the  23rd — that  last  and  fatal  day 
— I  have  been  in  a  dream,  out  of  which  1 
cannot  rouse  myself — the  lovely  sky,  the 
most  lovely  scenery,  alas  !  even  the  divine  in 
art,  excites  nothing  in  me — I  am  indifferent 
to  all.  I  really  believe  I  am  on  the  outer 
edge  of  that  folly,  of  which  we  often  talked. 
In  the  other  world  I  hope  it  will  be  arranged 
that  all  dear  friends  meet  never  more  to 
part,  and  so  I  look  for  a  happier  life 
above. 

I  hope  to  hear  that  you  are  comfortably 
lodged  in  Milan ;  everything  eibout  you 
interests  me.  Your  health  and  w^ell-being  is 
as  near  to  my  heart  as  my  own.  .  .  . 

This  evening,  the  2Sth,  when  I  came 
home,  I  found  your  dear  letter  upon  the  table. 
How  my  heart  beat  as  I  opened  it,  and  how 
much  I  thank  you  for  the  contents  and  for 
your  friendship,  of  which  you  gave  me  a 
proof,  by  sending  me  those  dear  lines  which 
will  help  to  make  my  weary  days  less  hard 


224  Angelica  Kmtffmann. 

to  bear.  May  Heaven,  my  dear  friend, 
reward  you  for  this,  and  keep  you  from 
everything  that  may  annoy  you. 

^^The  *  Motet  of  Cristofero  Morales/^ 
which  you  picked  up  in  Bologna,  and  also  the 
book  of  ^Gvidetti,^  I  have  stretched  upon  what 
little  gum-paper  I  have.  I  have  many  times 
reminded  Signor  Carlo  Albacini,  and  begged 
of  him  to  do  what  is  possible ;  he  puts  me 
off  with  fair  promises.  One  cannot  be  con- 
tent with  these,  so  I  shall  try  in  another 
direction. 

Your  '  Tasso '  will  be  received  by  me  with 
love  and  joy,  *  yet  it  is  joining  new  links  to 
the  chain ; '  nevertheless,  every  word  you 
have  written  is  precious  to  me,  because  it  is 
yours. 

*'Some  days  ago  I  went  with  Zucchi  to 
visit  your  apartment  (what  I  saw  there  I  will 
tell  you  after  I  have  seen  it  again  under 
better  circumstances).  We  went  up  into  your 
cabinet.  I  felt  as  if  I  were  in  a  sanctuary  or 
shrine  where  one  dwelt  whom  all  honoured. 

^  Cristofero  Morales^  a  Spanish  composer  of  the 
sixteenth  century. 


Middle  Age. 


225 


I  could  hardly  tear  myself  away — I  remem- 
bered what  lovely  music  the  excellent  Kayser 
played  once  here  for  you  and  me.  Ah ! 
those  dear  happy  days.  I  must  stop  and  beg 
your  pardon  for  allowing  my  pen  to  run  on 
so  wildly,  Zucchi  desires  his  most  friendly 
remembrance,  also  our  good  Herr  Rath  and 
the  Abbate  Spina.  Whenever  we  meet  we 
speak  of  you.  I  am  looking  forward  to  the 
letter  from  Milan,  which  you  have  promised 
me. 

There  is  a  postscript  to  this  letter  dated  a 
fortnight  later,  June  7th  : — 

Pray  forgive  the  length  of  this  letter  and 
the  disorder  with  which  it  is  written  ;  my 
mind  was  half  distracted  when  I  wrote. 

Not  a  line  from  you  from  Milan  !  Have 
you  forgotten  your  kind  promise  ?  It  fills 
me  with  anxiety  ;  it  may  be  that  Herr  Rath^ 
had  letters  from  you  by  yesterday's  post,  but 
he  is  in  Frascati  with  his  housekeeper,  who 
has  been  ill,  but  now  gives  every  hope  of 

^  It  would  seem  from  this  that  the  correspondence 
between  them  was  carried  on  through  good  Rath  Rieffen- 
stein. 


2  26  Angelica  Katiffmanit. 


perfect  recovery.  I  shall  not  see  him  until 
next  Monday ;  I  shall,  therefore,  wait  no 
longer  ;  as  you  gave  me  permission  to  address 
you  at  Weimar,  I  shall  do  so.  I  trust  you 
have  already  happily  arrived  there,  and  that 
you  have  met  all  your  friends.  Happy 
Weimar,  and  thrice  happy  those  who  are 
blessed  with  your  presence  there  !  The  only 
consolation  left  to  me  is  the  hope  that  you 
keep  me  in  your  remembrance.  That  you 
may  be  always  well  and  happy  is  the  sincerest 
wish  of  your  devoted  A. 

*^  Please  remember  me  and  Zucchi  and  other 
friends  to  Herr  Kayser.  I  told  you  in  my  last 
that  I  had  the  '  Muse  '  in  my  own  hands,  and 
that  I  was  only  waiting  an  opportunity  to  send 
it  to  you  with  the  help  of  Herr  Rath,  also 
the  finished  design  for  the  title  page,  about 
which  I  expect  an  answer  from  you.  Dearest 
friend,  pardon  this  long  letter,  which  for  the 
rest  is  the  answer  to  two  of  yours  with  which 
I  was  made  happy. 

To-morrow  will  be  Sunday — once  such  a 
longed-for  day.  Farewell,  your  commission 
as  to  the  Intaglio  shall  be  looked  after." 


Middle  Age. 


227 


On  the  5th  August  she  writes  to  tell  him 
of  Herder's  arrival ;  the  letter  is  interesting 
from  many  points  of  view. 

Rome,  5th  August,  '88, 

Dreaming  again,  you'll  say. 

But  I  know  you  forgive  me. 

I  dreamt  last  night  you  had  come  back. 
I  saw  you  a  long  way  off,  and  hastened  to 
the  entrance  door,  seized  both  your  hands, 
which  I  pressed  so  closely  to  my  heart  that 
with  the  pain  I  awoke.  I  was  angry  with 
myself  that  my  joy  in  my  dream  should  have 
been  so  great,  and  that  in  consequence  my 
happiness  had  been  shortened.  Still,  to-day 
I  am  content,  for  I  have  your  dear  letter 
written  July  19th.  That  in  spite  of  your 
many  distractions  and  occupations,  with 
friends  and  acquaintances  around  you,  you 
are  in  spirit  often  in  Rome — this  does  not 
surprise  me  ;  but  that  you  think  of  me  is  a 
proof  of  your  goodness  for  which  1  am  in- 
finitely grateful.  I  rejoice  that  you  are  well, 
and  wish  you  an  unbroken  course  of  happi- 
ness and  content.  For  me,  /  live  only  in  the 
hope  of  a  belter  life.    And  now  a  word  of  art 

Q  2 


228  Angelica  Kauffmann. 


and  especially  of  '  Daniele  da  Volterra/  The 
portrait  is  now  mine}  How  it  cametobe  mine, 
how  it  got  into  the  house,  what  a  piece  .of 
work  there  was  to  persuade  Tischbein  to 
sell  the  picture  and  to  share  the  profits — all 
this  you  already  know.  I  could  not  bear 
the  thought  of  letting  such  a  treasure  leave 
me.  I  talked  the  matter  over  with  Zucchi, 
and  decided  to  write  to  Tischbein  and  have 
the  whole  thing  out.  I  made  him  an  offer  ^ — 
and  now  the  portrait,^  which  is  a  veritable 
masterpiece,  is  oursy  wholly  and  entirely,  and 
so  long  as  I  live  I  shall  look  at  it.  It  shall 
be  given  all  honour  and  placed  with  '  all 
dignity  '  in  the  big  '  Saal '  ;  the  '  Mercury  ' 
must  give  way,  and  come  in  the  middle  of 
the  hall ;  '  Venus  and  Adonis '  on  the  same 

^  It  is  curious  that  in  her  will  she  makes  no  mention 
of  the  Volterra,  so  it  is  probable  that  either  Tischbein 
claimed  the  picture  or  that  Angelica  sold  it. 

^  She  gave  six  hundred  pounds  for  it. 

^  This  fine  picture  of  the  '  Burial  of  our  Lord,'  by 
Daniele  da  Volterra,  was  discovered  by  Tischbein  in  the 
convent  of  the  Porta  del  Popolo.  The  monks  were 
willing  to  sell  it  for  one  thousand  scudi,  which  Tischbein, 
being  only  a  struggling  artist,  could  not  muster.  He 
therefore  made  a  proposal  to  Madame  Angelica,  to  which 
she  consented.  She  advanced  the  sum  and  the  picture 
remained  with  her ;  later,  Tischbein,  by  an  agreement, 
could  repurchase  it.''- — Goethe^s  L  Reise, 


Middle  Age. 


229 


side  where  '  Ganymede  and  Apollo '  are. 
The  picture  remains  in  its  case,  and  only  those 
shall  see  it  who  are  capable  of  seeing  it.  I 
give  you  all  these  details,  because  I  know 
that  they  will  give  you,  dear  friend,  pleasure. 
When  shall  we  see  it  together  ?  I  live  con- 
tinuously between  fear  and  hope  —  alas, 
more  fear  than  hope — but  I  must  be  silent ; 
of  what  use  are  my  complaints  ? 

*^  You  want  to  know  what  I  am  working  at. 
I  have  the  following  pieces  finished,  I  think  : — 
The  portrait  of  *  Lady  Hervey,'  the  picture 
of  '  Cardinal  Rezzonico  before  the  Senate.' 
To-day  I  am  finishing  '  Virgil/  the  subject 
you  will  remember.  I  am  very  well  pleased 
with  the  effect  of  the  'Chiaroscuro' — this 
picture  has  a  great  deal  of  strength  and  the 
colours  have  become  very  brilliant.  I  have 
also  commenced  the  two  for  the  Shakespeare 
Gallery,^  and  a  picture  for  the  Duke  of  Cour- 
land.^  Soon  I  must  consider  the  subject  of 
my  large  picture  for  Catherine  of  Russia.^  I 

^  The  Boydell  Shakespeare.    For  Angelica's  letter  to 
Boydell  see  Supplement  to  Appendix. 
*  Peter,  Duke  of  Courland. 

^  Catherine  IL,  who  gave  Angelica  several  orders. 
This  one  was  "Achilles  "  ;  it  is  now  in  the  Hermitage  at 
St.  Petersburg. 


230  Angelica  Kati^mann. 

have  as  yet  done  nothing,  and  I  want  to  make 
it  as  good  as  possible.  To  do  this,  I  must 
imagine  it  is  Sunday,  and  that  you  are  coming 
to  my  studio.  Ah  !  the  dear  past.  It  does 
not  do  to  think  of  that. 

My  portrait,  or  it  would  be  better  to  call 
it  the  painting,  which  I  presented  to  the 
gallery  in  Florence,  has  been  accepted.  I 
received  the  letters  a  few  days  ago,  and 
that  they  have  placed  me  in  a  good  light  and 
beside  a  very  famous  man — no  less  than 
Michel  Angelo  Buonarroti.^  I  wish  I  could 
stand  near  him,  not  in  effigy  alone,  but  in 
his  works  ;  but  this  is  too  ambitious.  The 
Grand  Duke,  as  a  proof  of  his  kind  acceptance 
of  the  portrait,  has  honoured  me  with  the 
gift  of  a  large  gold  medal.  Now  it  is  time  for 
me  to  stop  speaking  of  myself;  I  have  already 
said  too  much.  If  you  had  not  sent  me  the 
promised  sketches  of  the  neighbourhood,  I 
should  have  most  certainly  reminded  you. 
Now  that  I  have  them,  I  find  my  thoughts 
often,  often,  very  often  there.    Dear  friend, 

^  This  portrait  of  Angelica  has  been  removed  from  its 
juxtaposition  to  the  great  painter ;  it  now  hangs  in 
the  Artists'  Room. 


Middle  Age, 


231 


Rome  is  beautiful,  but  no  more  so  for  me. 
Let  me  be  still,  let  me  once  more  be  the 
master  of  my  pen. 

The  letter  from  your  young  friend  has 
given  me  much  pleasure  ;  also  I  am  glad 
to  know  Herr  Kayser  is  coming  back,  and 
that  Herr  Herder  is  coming,  but yott  are  not 
coming ;  that  is  my  everlasting  sorrow,  and 
my  lamentation. 

Farewell,  be  happy  and  do  not  forget  me. 
I  honour  and  esteem  you  with  all  my  heart. 

Angelica." 
One  of  the  results  of  Goethe^s  visits  to 
Rome  had  been  to  excite  the  imagination  of 
the  intellectual  circle  in  Weimar,  which  had 
a  reputation  for  art  and  learning.  It  included 
such  men  as  Wieland,  Herder,  Bode,  Hackert, 
Emondel,  Knebel,  likewise  Frau  von  Secken- 
dorfif,  Amalie  Trieshoff,  and  others.  The  little 
duchy  went  by  the  name  of  the  modern 
Athens  ;  after  Goethe's  return  a  regular  pil- 
grimage set  out  for  Rome.  First  came  Her- 
der, accompanied  by  Domherr  von  Dalberg 
and  Frau  von  Seckendorff.  Great  efforts 
had  been  made  to  induce  Goethe  to  join  this 
party,  but  the  poet,  although  in  full  measure 


Ancrelica  Kattffmann. 


artistic,  was  German  first  of  all.  He  wanted 
to  improve  his  own  country,  and  to  raise  it 
from  an  artistic  point,  and  to  do  this  it  was 
necessary  in  the  first  place  to  make  a  bridge 
between  the  north  and  the  south.  From 
Weimar  he  directed  all  the  movements  of  the 
art  pilgrims,  bringing  them  in  contact  and 
friendship  with  his  Roman  friends,  so  that  they 
might  see  all  to  the  best  advantage.  From 
Constanz  he  writes  to  Herder  the  fullest 
directions,  and  again  on  his  arrival,  he 
says, — 

I  am  rejoiced  that  you  and  Angelica 
have  so  many  pleasant  hours  together,  that 
you  like  Bury.  Be  very  nice  to  Herr  Rieffen- 
stein ;  commend  me  to  him  and  tell  him  how 
much  I  value  his  friendship." 

Herder  did  not  care  much  for  the  society 
of  Goethe's  antiquarian  friends,  but  he  was 
charmed  with  Angelica.  He  cannot  praise 
enough  her  grace,  her  elegance  and  her 
kindness  of  heart.  She  is  true  heavenly 
music,''  he  says  in  letter  25  of  the  series. 
Angelica  gives  her  opinion  of  the  philosopher 
to  Goethe  in  the  following  letter : — 


Middle  Age.  233 

2ist  September. 
How  joyful  I  am  on  the  days  that  your 
letters  come,  and  that  I  hear  of  your  well- 
being.  I  thank  you  for  your  letter  of  4th 
August  and  ist  September,  and  from  the  last 
I  know  that  the  *  Muse '  ^  has  at  last  reached 
you.  I  am  very  pleased  that  my  little  re- 
membrance has  given  you  pleasure,  and  that 
you  consider  it  as  a  small  proof  of  my  true 
and  unutterable  esteem  for  you.  Before  this 
reaches  your  honoured  hand  you  will  have 
received  the  title  page,  together  with  the 
Vignette ;  the  shortness  of  the  time  and  the 
confined  space  did  not  allow  of  adding  any- 
thing. Fall  in  love,  do,  with  the  figure 
Simplon,  and  grant  me  the  honour  to  make 
up  for  other  deficiencies  on  another  occasion. 
The  drawing  I  would  have  willingly  sent,  only 
it  was  too  large.  Herr  Rath  will  send  it  by 
another  opportunity. 

V  Shortly  before  he  left  Rome  a  dealer  offered  Goethe 
a  statue  taken  from  the  court  of  the  palace  Carafa 
Colombano  in  Naples.  He  was  all  anxiety  to  buy  it, 
but  the  money  was  not  forthcoming.  Tischbein  proposed 
an  arrangement  like  the  Volterra,"  but  Angelica  was 
afraid  of  her  husband  and  refused.  The  statue  is  now  in 
the  Museum  pro  Clementina.  It  was  a  copy  she  sent  Goethe. 


2  34  Angelica  Katiffmann. 

''Onthe  iQththismonth,  when  I  came  home 
at  my  usual  hour,  I  found  Bury  in  the  draw- 
ing-room with  Herr  Herder.  It  gave  me 
joy  to  see  this  excellent  man,  your  friend. 
I  gave  him  your  letter,  the  questions  about 
which  you  are  anxious  he  could  scarcely 
answer,  as  he  had  only  just  arrived.  The  visit 
was  short,  but  he  has  given  me  the  hope  that 
he  will  come  often.  The  Duchess-Mother 
will  arrive  at  the  end  of  the  month.-^  You 
know  already,  my  dear  friend,  how  much  I  wish 
to  do  honour  to  those  whom  you  like,  and  to 
be  of  use  to  them  if  I  can  ;  it  rejoices  me  that 
your  friends  have  come  at  the  best  time  to 
enjoy  the  neighbourhood.  It  will  soon  be 
the  season  when  we  were  together  at 
Castel  Gandolfo — every  place  where  you 
sketched  will  be  dear  to  me,  all  will  remind 
me  of  what  is  past,  and  with  such  a  memory 
can  I  hope  for  enjoyment  in  the  present  ? 
In  my  imagination  I  will  see  you  everywhere. 
We  shall  only  spend  a  few  days  there  this 
year,  as  we  intend  to  make  a  short  tour  in 

^  The  Duchess-Dowager  of  Weimar,  who  was  preparing 
to  make  an  art  pilgrimage  to  Rome. 


Middle  Age. 


235 


October.  You  console  me  with  the  hope  of 
a  future.  I  will  try  and  hope  the  best,  it 
may  make  the  present  less  unbearable. 
That  my  little  offering,  which  you  so  kindly 
have  accepted,  should  have  arrived  at  a  time 
and  on  3.  day  which  shall  be  ever  sacred  to 
me  !  this  coincidence  makes  me  happy.  May 
I  live  to  keep  that  day  with  you  again. 
'Tis  Sunday,  and  instead  of  going  to  fetch 
you,  I  am  writing  to  you  these  few  lines  with 
the  little  pen  which  I  stole  from  you.  Here 
comes  good  Herr  Rath,^  with  whom  I  can 
talk  of  you,  and  wish  that  our  wishes  might 
for  once  be  fulfilled. 

I  have  seen  Herr  Herder  again  ;  what  a 
worthy  man  he  is,  and  speaks  as  he  writes. 
We  showed  him  your  bust,  which  pleases  your 
friend  much.  I  am  content  with  the  likeness. 
When  I  wanted  to  pay  Herr  TrippeP  my  debt, 
he  said  you  had  paid  him,  consequently  I 
have  to  thank  you  infinitely  for  such  a  dear 
and  precious  present.   I  spend  many  moments 

^  Rieffenstein. 

^  Trippel,  the  sculptor,  executed  a  marble  bust  of  the 
poet  for  the  Prince  of  Waldeck» 


536  Angelica  Kattffmann. 


in  the  day  looking  at  it.  I  am  at  present 
occupied  with  '  Troilus  and  Cressida '  from 
Shakespeare.  It  is  somewhat  heavy,  the 
subject  in  itself  calls  out  very  little  imagi- 
nation ;  nevertheless,  I  will  do  all  that  is 
possible  to  overcome  the  difficulties.^  The 
drawing-room  is  now  arranged  :  *  Daniele  da 
Volterra*  in  his  case  is  placed  where  the 
great  architectural  picture  of  Zucchi's  used  to 
hang.  This  same  picture-frame,  instead  of  the 
doors  of  the  case,  preserves  and  encloses  the 
treasure,  and  serves  as  before  to  the  decora- 
tion of  the  salon — in  the  middle  of  which 
'  Mercury '  is  well  placed  for  light.  The  large 
table  has  been  made  smaller,  so  as  to  give 
more  space,  and  the  ^  Daniele  da  Volterra'  can 
be  better  seen  in  the  distance.  Herr  Herder 
has  not  seen  the  picture  nor  our  little  collec- 
tion, for  he  came  in  the  evening,  accompanied 
by  Herr  Dalberg.  The  garden  has  pro- 
duced nothing  wonderful  this  year,  not  a 
single  monstrum.     The  dear  pine  grows, 

^  Troilus  was  much  the  best ;  Ulysses  and  Thersites 
have  the  usual  Greek  profiles ;  Cressida  is  firmly  drawn 
and  fills  the  picture  well. 


Middle  Age. 


237 


I  have  not  transplanted  it.  You  would 
laugh  over  my  anxiety  when  the  sky  is 
darkened  with  clouds  and  there  are  signs 
of  a  storm.  I  run  into  the  garden  and 
place  the  young  plant  under  cover  for  fear  it 
may  be  injured;  all  the  rest  I  leave  to  their 
fate.^ 

Pardon,  dear  friend,  the  length  of  this 
letter,  and  the  disorder  with  which  it  is 
written.  You  know  it  is  well  meant.  Fare- 
well, my  dear  friend,  forget  me  not.  To 
know  you  live  content  is  my  dearest  wish. 

^^A.  K.  Z. 

I  hear  '  Tasso  '  has  advanced  very  far 
towards  completion,  as  also  another  work  of 
which  you  have  said    nothing   to    me.  I 

^  Goethe  says,  I  planted  the  pine  cutting  from  the 
Botanical  Gardens ;  it  had  begun  to  grow,  and  was  a 
miniature  of  a  future  tree.  It  grew  and  flourished  for 
many  years  in  Angelica's  garden.  It  reached  a  respect- 
able height^  as  I  heard  with  much  content  from  many 
friends  who  visited  the  garden,  of  which  I  retained  so 
perfect  a  recollection  as  to  be  able  to  represent  to  myself 
the  little  tree  ;  but,  alas  !  after  the  death  of  my  much- 
valued  friend,  new  people  entered  into  possession,  who 
considered  the  pine  detrimental  to  their  flower-beds,  and 
the  latest  visitors  to  Rome  have  brought  me  news  that 
no  trace  of  its  existence  remains.'^ 


238  Angelica  KaMffmann. 

remember  the  happy  time  when  you  read 
to  us  your  manuscript;  those  days  will 
never,  I  fear,  come  again  ;  the  very  thought 
fills  me  with  sadness/' 

In  these  words  there  is  a  slight  touch  of 
reproach,  or  as  if  a  foreboding  had  come  to 
Angelica  that  a  change  had  come  over  the 
ever-changing  spirit  of  the  poet  ;  his  whole 
thoughts,  indeed,  were  now  concentrated 
on  the  journey  of  the  duchess-dowager  to 
Rome. 

Anna  Amalie,  a  princess  of  Brunswick 
Wolfenbiittel,  and  the  widow  of  Duke  Ernest 
II.  of  Weimar,  was  a  woman  of  extraordinary 
gifts,  great  cleverness,  and  brilliant  qualities. 
She  patronized  art  generously,  was  the 
friend  of  Wieland^  Goethe,  Herder,  and  from 
her  visit  to  Rome  great  things  for  Weimar 
were  expected ;  the  expectations  were  ful- 
filled. She  came  accompanied  by  a  large  suite, 
and  during  her  two  years'  residence  in  Italy 
gathered  round  her  all  who  were  remarkable 
for  gifts  of  science  and  wit.  Her  circle  in- 
cluded the  Pope,  cardinals,  and  bishops,  foreign 
ambassadors,  Italian  nobles,  savants,  artists 


Middle  Age. 


^39 


and  musicians  ;  and  there  was  a  refreshing  air 
of  freedom  and  absence  of  court  etiquette 
which  completed  the  charm  of  this  pleasant 
society.  During  her  stay  in  Rome,  Angelica 
seems  to  have  gradually  recovered  her 
serenity.  Drawn  together  by  their  common 
admiration  for  Goethe  and  their  love  of  art, 
the  two  women  became  dear  friends.  In 
one  of  his  first  letters  to  the  duchess,  Goethe 
strikes  the  key-note  of  this  friendship  :  You 
have  seen  Mad.  Angelica  by  this  time,  and 
this  excellent  woman  must  from  many  differ- 
ent points  be  interesting  to  you  ;  "  and  the 
duchess  immediately  responds:  1  go  to 
Angelica  as  often  as  I  can,  and  she  comes 
to  me  ;  she  is  in  every  way  ei7ie  herzliebe 
/ran}  Next  Friday  I  am  to  sit  to  her  for 
my  portrait,  certainly  not  as  a  model,  but  I 
like  to  have  something  of  hers.  Old  Zucchi 
has  given  me  some  of  his  drawings.'* 

The  first  letter  Angelica  writes  after 
the  duchesses  arrival  is  in  a  joyous  tone. 

^  A  lovable  woman. 


240  Angelica  Kauffmann. 


It  begins  :  Do  you  know,  my  dear  friend, 
that  I  am  coming  to  Weimar  ;  have  you  ever 
dreamt  of  such  a  thing?  Her  excellency 
the  duchess  has  invited,  in  the  most  cordial 
manner,  good  Rath  Rieffenstein,  Zucchi  and 
me  to  either  accompany  her  back  or  to 
follow  her.  Fraulein  von  Gochhausen  ^  and 
Herder  were  present  and  added  their  en- 
treaties. Was  it  possible  to  refuse  such  a 
gracious  proposal  ?  The  promise  has  been 
given  if  circumstances  permit.  Blessed 
Weimar,  which  since  it  has  given  me  the  joy 
of  knowing  you,  I  have  so  often  envied, 
where  my  thoughts  fly  so  constantly,  shall  I 
really  see  it  and  see  you  there  ?  Oh,  most 
beautiful  dream,  and  still  I  hope  that  even 
before  this  journey  comes  off  we  may  see  you 
in  Rome.  That  the  duchess  has  shown 
herself  so  gracious  to  me,  I  have  to  thank 
you,  my  best  and  dear  friend. 

''This    gracious    princess    honours  me 
with  a  visit  constantly,  and  she  allows  me  to 
go  to  her.    We  often  speak  of  you,  and  then 
what  joy  fills  my  souL    A  few  evenings  ago 
^  The  lady-in-waiting  to  the  Duchess. 


Middle  Age. 


241 


her  Excellency  visited  the  museum,  attended 
by  her  whole  suite,  that  is,  Herr  baron 
von  Dalberg,  Frau  von  Seckendorff,  Herr 
Herder,  etc.  Zucchi  and  I  had  the  honour 
of  accompanying  them.  It  was  quite  a 
festival  for  me.  Nevertheless  there  was 
something  wanting  to  make  me  perfectly 
content.  Your  name  was  repeated  in  the  hall 
of  the  Muses,  but  I  looked  about  me  and 
only  saw  you  in  spirit.  When  we  all  stood 
before  the  Apollo,  some  one  proposed  that 
we  should  offer  a  prayer  to  the  god.  Herr 
Herder  said  we  should  each  ask  for  some- 
thing. My  prayer  to  Apollo  was  that  he 
would  inspire  you  to  come  to  Rome.  Oh 
that  my  wish  may  be  granted  ;  but  it  must 
be  before  I  go  to  Weimar. 

**The  duchess's  circle  is  exceedingly 
pleasant,  and  what  a  kindly  dear  creature 
is  Fraulein  von  Gochhausen.  So  intel- 
ligent and  so  lively,  and  she  does  everything 
so  well.  The  princess  seems  quite  satisfied. 
The  weather  is  beautiful ;  everything  looks 
to  the  best  advantage.  Madame  von 
Seckendorff  desires  to  be  remembered  to 

R 


242  Angelica  Katiffmann. 


you.  I  am  glad  that  you  like  the  title  page. 
Herr  Rath  is  sending  the  design,  perhaps 
to-morrow,  with  other  things  to  you.  I  hear 
much  in  praise  of  your  *Tasso.'  I  am 
rejoicing  over  the  hope  you  have  given  me, 
that  you  may  still  read  it  to  me.  It  is  a 
consolation  for  much .  May  Apollo  strengthen 
you  in  this  good  purpose.  I  thank  you 
meanwhile  for  having  thought  of  me, 

Zucchi  and  I  often  talk  of  you,  but  alas  ! 
that  is  not  the  same  as  being  with  you.  Ah, 
the  happy  time  ;  the  dear  Sundays  which  I 
will  think  of  so  long  as  I  live.  Her  Excellency 
the  duchess  seems  to  wish  that  I  should 
paint  her  portrait.  Next  week  I  shall  have 
the  honour  to  commence  it.  I  hope  my 
work  will  please.  I  have  just  finished  the 
two  Shakesperian  pictures.^  A  mass  of 
things  are  waiting  for  me  to  begin.  One 
after  the  other  they  will  gradually  get 
finished.  It  is  all  well  so  long  as  health 
lasts  ;  but  on  that  score  I  cannot  complain 

^  For  Boydeirs  Shakespeare. 


Middle  Age, 


243 


at  present.  I  am  anxious  about  you,  and 
trust  you  take  care  of  yourself. 
.  The  other  day  I  chanced  on  a  good 
specimen  of  an  Intaglio.  It  is  surely  a 
Tolomeo  cut  in  Hintzint^  which  I  rather 
fancy.  I  send  you  an  impression,  which  I 
hope  may  reach  safely.  The  stone  is  very 
fine,  and  cut  in  a  masterly  manner  in  my 
judgment,  only  I  have  a  doubt  on  account  of 
the  subject,  because  under  the  four  antiques 
there  seems  to  be  the  head  of  a  philosopher. 
A  word  from  you  will  settle  this  matter  and 
be  a  guide  for  me  in  the  future. 

I  am  glad  that  you  like  your  present 
situation,  and  that  you  have  time  to  prosecute 
your  work.  May  you  live  always  happy 
and  content,  and  if  you  have  an  idle  moment 
think  of  me.    Farewell,  best  of  friends. 

In  several  of  the  duchess's  letters  to 
Goethe  there  is  most  kind  mention  of 
Angelica.  I  have  sat  twice,'^  she  says,  to 
Angelica,  and  the  picture  promises  to  be 
a  splendid  success.    The  last  time  I  sat 

R  2 


244 


Angelica  Kattffmann. 


Herder  read  for  us  your  poems.  The  good 
Angelica  was  so  inspired,  that  the  portrait 
seemed  to  grow  under  her  fingers/'  And 
again  Herder  writes  :  AngeHca  is  a  lovely 
Madonna  ;  only  she  lives  in  herself  and  feeds 
upon  her  own  branches."  Fraulein  von 
Gochhausen  also  gives  her  meed  of  praise : 
Angelica  has  such  a  beautiful  soul,  there 
are  few  like  her,  and  out  of  love  for  her  one 
grows  better  when  near  her.  She  loves  the 
duchess,  and  yesterday  she  wept  tears  of 
sorrow  at  the  thought  that  our  quiet  evenings 
were  over.  We  cheer  her  up  with  talking 
of  her  visit  to  Weimar,  and  so  scatter  the 
ghost  of  melancholy  which  hangs  about  a 
farewell. 

The  pleasant  party  had  now  left  Rome 
for  Naples,  and  Angelica  writes  sadly  to 
Goethe : — 

Rome,  24th  January,  178$- 
Her  Excellency  is  very  well  satisfied 
with  Naples.    I  had  letters  yesterday  from 
our  good  friend,  Rieffenstein,  who  has  taken 
for  the  duchess  the  villa  which  was  next 


Middle  Age. 


245 


our  little  garden ;  you  remember  it  ?  Who 
would  have  thought  that  we  should  have 
visited  that  lovely  spot  together  ?  Herr 
Herder  is  also  to  live  there.  And  why  not 
you  ?    Why  do  you  keep  away  from  Rome  ? 

Her  Excellency  is  so  well,  I  trust  we 
may  soon  have  her  back.  In  the  meantime 
we  are  making  cur  preparations  for  the 
journey  to  Weimar.  Yoit  think  it  is  only 
a  joke,  this  visit ;  but  it  is  so  much  in  my 
thoughts  that  I  am  constantly  dreaming  of 
it. 

'*You  must  have  nearly  finished  your 
'  Tasso '  by  this  time.  I  am  longing  for  and 
rejoicing  over  the  appearance  of  this  work. 
I  have  finished  my  two  ^  Shakespeare  pictures 
and  several  other  bagatelles.  The  '  Achilles  * 
comes  next,  a  fearful  undertaking.  I  have 
made  a  small  sketch  of  the  design,^  and  with 
thought,  time,  and  trouble  I  do  not  despair 
of  the  result. 

^  Horace  Walpole  did  not  consider  any  painter  equal 
to  the  work.  His  commentators  have  not  been  more 
inadequate,"  he  said ;  adding  "  Lord  help  Alderman 
Boy  dell  and  the  R.A. 

'  For  the  Empress  Catherine  of  Russia. 


246  Angelica  Kauffmann. 


**The  portrait  of  her  Excellency  is  already 
far  advanced,  it  will  be  nearly  ready  by 
the  time  she  returns  from  Naples.  She 
is  expected  in  the  middle  of  the  next 
month/' 

The  duchess  did  return  to  Rome,  and 
there  were  more  sittings  for  the  portrait. 
Amalie   wrote   privately    to    Goethe  that 

Angelica  was  a  noble,  charming  woman, 
but  not  an  artist,  .  .  .  and  more  parties  to 
Frascati,  Albano,  and  to  old  curiosity  shops, 
looking  for  fossils  and  stones,  until,"  writes 
the  sprightly  Fraulein  Gochhausen,  I  feel 
like  a  fool,  but  Angelica's  greater  intellect 
takes  pleasure  in  all  that  concerns  art,  and 
she  elevates  our  minds  and  makes  us  enjoy, 
so  far  as  we  are  capable  of  doing,  the 
antique.'' 

But  this,  too,  came  to  an  end. 

On  the  23rd  May,  1789,  Angelica  writes 
to  Goethe  that  his  friends  have  left  Rome 
again, 

I  must  acknowledge,"  she  writes,  that 
I  was  happy  when  I  had  so  many  of  your 
friends  near  me.    We  spoke  so  constantly 


Middle  Age. 


247 


of  you,  and  her  Highness  showed  herself 
always  so  extremely  gracious  towards  me  ; 
also  her  suite  were  full  of  kindness, 

'*On  the  19th  her  Excellency  left  for 
Naples  to  spend  the  summer.  It  seems  to 
me  now  that  I  have  been  in  a  dream  of 
pleasant  companionship,  and  have  just  awoke 
to  resume  my  solitary  life  again.  Also  the 
good,  excellent  Herder  is  gone.  This  day 
fortnight  I  spent  with  the  Respectable 
Society  at  Tivoli  at  the  Villa  d'Este  ;  under 
the  great  cypress  trees  Herder  read  to  us  the 
portion  of  *  Tasso  *  which  you  have  sent. 
I  cannot  tell  you  with  what  pleasure  / 
listened.  I  think  of  all  your  beautiful  works 
it  is  the  most  beautiful.  Who  can  read  such 
a  masterpiece  and  not  long  to  hear  the  rest  ? 
Herr  Herder  gave  me  the  manuscript,  for 
which  I  thank  you  warmly. 

For  a  long  time  I  have  been  intending 
to  write  and  thank  you  for  the  eight  volumes  ^ 
of  your  works  which  you  sent  me,    I  delayed 

^  Goethe  presented  her  with  a  splendidly  bound  edition 
of  all  his  works,  that  she  might  renew  her  acquaintance 
with  her  native  language."  That  she  had  forgotten  how 
to  spell  in  German  is  evident  in  her  letters  to  him. 


248  Angelica  Kauffmann. 

because  I  feared  you  would  say  I  wrote  too 
often.  Silence,  too,  is  not  forgetfulness. 
How  could  /  forget  a  friend  whom  I  honour 
so  much  as  I  do  you,  and  shall  ever  continue 
to  honour  so  long  as  I  live  ?  My  industry  is 
much  as  usual ;  but  who  is  so  industrious  as 
you  are  ?  the  research,  and  the  writing  itself 
is  far  more  useful  than  mere  handiwork.  It 
is  good  to  cultivate  all  knowledge,  and  who 
does  that — does  well.  Continue  to  enjoy 
yourself  in  every  way  that  can  make  you 
happy.  I  wish  I  could  write  to  you  of  art  or 
of  artists  or  of  any  other  agreeable  subject. 
It  had  been  my  intention  to  make  amends 
for  my  silence  by  a  long  letter,  but  the 
absence  of  my  good  friends  makes  me  feel 
so  sad,  that  I  can  only  say  that  I  live  and 
hope  to  live  in  your  memory  as  you  do  in 
mine,  where  your  remembrance  will  always 
and  for  ever  be  dear. 

'^A.  K.  Z." 

The  Duchess  Amalie  seems  to  have  con- 
ceived quite  as  tender  a  friendship  for 
Angelica  as  the  impressionable  artist  had 


Middle  Age,  249 

for  her  Durchlaucht.  In  September  we  find 
her  writing  the  following  little  note  : — 

An  Madame  Angelica. 
Napel,  den  7th  September,  1789. 
''The  love  and  friendship  which  I  feel  for 
you,  dear  Angelica,  makes  me  confident  that 
you  will  forgive  my  disturbing  your  occupa- 
tions with  this  letter,  but  it  is  intolerable  to 
be  so  long  without  hearing  from  you.  How 
is  your  health,  my  dear  little  woman  ?  and  are 
you  always  busy — always  at  your  easel  ?  Ah, 
come  to  Naples — come  to  us.  Tell  dear  old 
Zucchi  to  bring  you  ;  and  put  before  him,  in 
your  own  sweet  way,  what  splendid  designs 
and  beautiful  new  ideas  he  will  find  here. 
Goethe  is  going  to  send  you  his  '  Tasso.* 
Perhaps  you  have  it  already.  When  you 
read  it  think  of  the  little  room  in  the 
Villa  d'Este — there  one  could  enjoy  it 
thoroughly. 

I  will  no  longer  take  up  your  time,  which 
is  so  much  better  employed  at  your  delightful 
art ;  so  farewell,  dearest,*  best  of  little  women ; 
think  of  me  often  as  I  do  of  you. 

''Your  Amaue. 


250  Angelica  Kauffmann. 

Give  my  remembrances  to  Herr  Zucchi 
and  Herr  Rieffenstein." 

The  moment  of  the  final  parting  was  close 
at  hand,  Herder  had  already  returned  to 
Weimar.  Angelica,  writing  to  Goethe  on 
1st  August,  says  :- — 

''You  have  your  worthy,  excellent  Herr 
Herder  with  you  again.  Greet  him  warmly 
from  me.  Oh,  that  for  once  I  could  see  you 
all  together,  and  spend  the  evening  with  you. 
Rome,  now  that  I  am  losing  all  my  friends, 
is  fast  becoming  a  desert.  Paintings  and 
statues  are  beautiful  to  look  at,  but  to 
live  surrounded  by  true  friends  is  better  : 
these  are  thoughts  I  must  not  dwell  on — 
they  disturb  my  rest,  and  sadden  my  heart. 
I  try  to  occupy  myself  as  much  as  possible,  so 
that  the  hours  may  slip  away  unnoticed  until 
a  better  time  comes. 

*'The  duchess  is  remaining  so  long  in 
Naples,  that  she  will  have  only  a  short  time 
here.  The  happy  hours  I  have  spent  in  her 
company  belong  to  those  memories  which  can 
never  be  forgotten  by  me.    I  am  longing  for 


Middle  Age, 


the  arrival  of  your  '  Tasso/  and  rejoice  in 
anticipation  over  such  a  splendid  v^ork. 

May  you  be  always  well  and  happy,  and 
grant  me  sometimes  the  happiness  of  a  few 
lines.  The  pine  is  in  full  growth,  so  also  the 
other  plants  which  you  brought  out  of  the 
Botanical  Garden.  Once  more  I  recom- 
mend myself  to  you,  my  honoured  friend, 
and  remain,  as  always,  with  great  esteem, 

-A   

There  is  a  ring  in  these  words  of  parting. 
The  old  time  has  passed  away,  and  a  new  and 
a  colder  season  has  set  in.  The  key  to  this 
is  to  be  found  in  the  fact  that  Goethe  was 
now  preparing  to  come  to  Italy.  Under  the 
orders  of  his  patron,  the  Duke  of  Weimar,  he 
was  to  have  the  honour  of  conducting  the 
Duchess  Amalie  on  her  return  journey.  What 
more  natural  than  that  he  should  grasp  such 
an  opportunity  to  revisit  Rome  and  his  dear 
friends  there?  Strangely  enough  the  capri- 
cious poet  made  it  a  condition  of  undertaking 
the  journey,  that  he  should  not  be  asked 
to  proceed  further  than  Venice,  where  he 


252  Angelica  Kaujfmann. 

awaited  the  princess.  His  letters  to  Herder 
show  how  much  against  the  grain  the  whole 
journey  was — he  was  longing  to  be  back  in 
Weimar,  to  his  newly-made  home  there. 
The  entreaties  of  his  friends  in  Rome  not  to 
remain  at  such  a  tantalizing  distance  he 
totally  disregarded — he,  who  only  a  year 
before,  at  Easter-time,  could  hardly  restrain 
his  longing  to  be  in  the  holy  city.  In  Venice 
he  led  a  solitary,  almost  hermit-like,  life,  the 
only  person  in  whose  society  he  took  any 
pleasure  being  Angelicas  brother-in-law, 
Joseph  Zucchi.  The  duchess  joined  him  in 
Venice,  May,  1790,  and  on  June  25th  she 
writes  to  Angelica  of  her  safe  arrival  at 
Weimar. 

From  the  Duchess  Amalie  von  Weimar. 

I  have  been  intending  and  wishing,  for  a 
long  time,  dear  Angelica,  to  give  you  news 
of  myself,  but  my  journey,  and  my  unsettled 
life,  up  to  the  present,  prevented  my  doing 
so.  Now  that  I  am  again  quiet,  my  first 
thought  is  to  tell  you,  best  of  women,  of  my 
safe  arrival  in  my  own  home.    I  am  once 


Middle  Age. 


253 


more  amongst  my  own  good  people,  whom  I 
love,  and  who  love  me ;  still,  Italy,  enchant- 
ing Italy,  holds  me  so  firmly  that  as  yet  I 
cannot  feel  happy  or  content.  Your  portrait, 
dear  Angelica,  which  I  found  here  is  an 
epoch  for  Weimar.  I  am  afraid  of  offending 
your  modesty,  else  I  would  tell  you  of  the 
praises  it  receives,  and  how  everyone  marvels 
at  your  astonishing  skill.  Nothing  more 
perfect  has  ever  been  seen  here.^  Goethe  will 
write  to  you  of  it  himself.  To  me  it  is  a  real 
blessing  as  a  loving  remembrance  of  you,  the 
best  and  most  delightful  souvenir  of  those 
happy  days  which  I  spent  with  you  in 
beautiful  Rome.  Think  of  me  sometimes 
as  amongst  those  who  love  you. 

Your  sincere  friend, 
Amalie.' 

P.S. — Mille  sahite  to  Signor  Zucchi  and 
the  Abb  ate  Spinal 

In  connection  with  this  portrait,  and  as  a 
proof  of  the  fugitive  nature  of  the  brilliant 
colours    Angelica    used,    which    in  many 

^  She  wrote  to  Goethe  that  AngeHca  was  a  noble 
woman,  but  not  an  artist.    See  pa^e  246. 


2  54  Angelica  Katiffinann. 

instances  faded  so  rapidly,  an  extract  from 
one  of  Goethe's  letters  is  given  here.  The 
whole  letter,  in  proper  chronological  order, 
finds  a  place  later  on  : — 

Weimar,  1797. 
''The  excellent  likeness  which  you  painted 
of  our  duchess,  which  I  believe  is  to  be 
placed  in  a  new  summer  palace  just  built  by 
the  duke,  has  somewhat  changed  its  appear- 
ance, the  cause,  I  imagine,  being  that  the 
varnish  has  either  flown  or  sunk  into  the 
picture,  so  that  the  brightness  of  the  colour- 
ing and  the  harmony  of  the  whole  is 
manifestly  injured.  It  will  be  easy,  by  means 
of  re-varnishing,  to  restore  the  portrait  to  its 
original  freshness,  but  I  am  afraid  lest  a 
wrong  varnish  ignorantly  applied  might  do 
more  harm  than  good,  and  irretrievably  ruin 
the  work.  Will  you,  therefore,  have  the 
kindness  to  tell  me  what  varnish  I  should 
use,  and  what  medium  I  should  employ  to 
secure  it  ? 

Another  letter  from  Wieland,  one  of 
Germany's  most  celebrated  poets,  may  also 


Middle  Age. 


255 


find  place  here,  although  it  bears  date  some 
four  years  later ;  it  is  written  in  the  very 
highest  strain  of  compliment : — 

A  very  welcome  visit  which  my  gracious 
duchess  received  from  our  agreeable  country- 
man, Herr  Consul  Haigelin,  from  Naples, 
has  procured  me  the  long-wished-for  oppor- 
tunity of  assuring  the  artist  of  all  the  graces 
of  my  entire  devotion  to  her,  a  devotion  which 
I  may  say  is  ever  on  the  increase,  and  which 
I  find  it  almost  impossible  to  express,  every 
glance  I  give  to  her  immortal  works  re- 
newing my  admiration."^ 

This  is  very  well  for  a  beginning,  but  soon 
Wieland  is  divided  between  his  want  of 
capacity  to  express  his  feelings  and  a  fear  that, 
in  so  doing,  he  might  be  supposed  to  consider 
his  voice  of  any  importance  to  one  at  whose 
feet  has  been  laid  the  applause  of  Europe  ; 

And,  Angelica,"  he  goes  on,  '*it  is  this  fear 
which  has  kept  me  so  long  silent,  and  has 
stayed  the  most  ardent  wish  of  my  heart. 
Ah !    when  our  beloved  duchess  returned 

^  This  letter  was  sent  to  me  by  Professor  von  Geb- 
hardt,  King's  Library,  Berlin. 


256  Angelica  Kauffmann. 


from  Italy  and  told  me  that  I  was  not  so  un- 
known as  I  had  imagined,  and  that  you  would 
receive  a  letter  from  me  (nay,  even  grant  a 
request,  the  purport  of  which  was  known  to 
her  Grace),  why  was  it  then,  by  what  accident 
did  it  happen,  that  .1,  at  that  very  moment 
did  not  write  to  you  ?  when,  too,  I  had  just 
seen  your  incomparable  likeness  of  our 
duchess,  which  has  been  painted  by  the  hand 
of  Apelles,  which  has  conveyed  to  the  canvas 
the  soul  which  animates  that  lovely  form  ? 
This  splendid  apotheosis  of  one  so  good 
and  so  artistic  as  our  duchess,  is  likewise  a 
standing  memorial  of  the  cultivated  taste 
of  her  whose  work  it  is.  This  portrait 
has,  for  the  last  two  years,  afforded  me  the 
highest  enjoyment  the  human  mind  is  capable 
of,  the  enjoyment  of  perfection  ;  and  no  man 
of  feeling  can  consider  it  without  being  pene- 
trated with  reverence  for  Amalie  and  love 
for  Angelica — and  nevertheless  I  have  been 
for  two  years  dumb,  why  ?  It  is  a  peculiar 
feeling,  and  difficult  to  express  the  process 
that  has  gone  on  in  my  mind.  It  was  no 
caprice  that  kept  me  silent,  but  a  deep-rooted 


Middle  Age. 


257 


conviction  that  I  could  only  express  to 
Angelica  the  feelings  that  filled  my  heart 
and  mind,  in  the  same  language  in  which  she 
spoke  to  me,  through  her  works.  She  spoke 
to  my  mind  and  heart.  I  should  paint,  and 
paint  like  Angelica,  to  convey  to  her  what 
my  feelings  in  her  regard  are,  and  how 
I  beg  of  the  invisible  powers  that  they 
may  grant  her  every  blessing  and  happi- 
ness. 

'*With  such  thoughts  and  feelings,  nothing 
could  be  more  natural  than  the  wish  to  have 
some  share  in  the  friendship  of  an  artist,  who, 
through  the  properties  of  her  mind  and  heart, 
and  if  possible,  even  more  through  her  extra- 
ordinary talents,  is  considered  one  of  the 
greatest  ornaments  of  her  sex  and  of  the 
century  in  which  she  lives. 

But  am  I  not  a  little  indiscreet,  dear 
Angelica,  and  having  gone  so  far  may  I  go 
further,  and,  concluding  you  have  granted  the 
first  of  my  wishes,  may  I  now  venture  on  one 
still  bolder,  which,  I  may  add,  in  my  own 
eyes  seems  pardonable  enough  ?  for  why 
should  not  a  man,  who  for  forty  years  has 

s 


258  Angelica  Kauffmann, 

aimed  at  living  in  future  ages  through  his 
work,  why  should  such  a  one  not  desire 
ardently  to  be  associated  with  Angelica 
Kauffmann  ;  she  who,  not  alone  by  her 
own  contemporaries,  is  honoured,  but  shall  be 
reverenced  by  posterity  ?  And  now  for  my 
request.  Goschen,  of  Leipzig,  is  bringing 
out  a  new  edition  of  my  works.  Of  these 
'  Oberon,'  in  the  judgment  of  the  public,  in 
which  my  own  coincides,  is  the  one  least  un- 
worthy of  immortality.  It  surely  must  attain 
this  high  place  if  Angelica  deigns,  with  her 
divine  pencil,  to  illustrate  one  or  two  of  the 
most  striking  scenes.  To  me  this  would  be 
the  most  perfect,  the  truest  reward. 

''We  flatter  ourselves  with  the  hope  of 
that  which  we  desire  most  ardently.  I  there- 
fore make  bold  to  present  to  you,  by  Herr 
Haigelin,  a  copy  of  my  '  Oberon/  In  the 
before-mentioned  collection  of  my  works  this 
will  appear  in  November,  1793.  Herr  Lips, 
whom  you  have  known  in  Rome,  charges 
himself  with  the  task  of  producing  the  illus- 
trations. 

'*  This  page  is  full  and  your  patience  is 


Middle  Age. 


exhausted.  I  therefore  conclude  with  the 
assurance  that  the  sentiments  of  reverence  I 
entertain  for  you  will  cease  only  with  my 
life,  and  when  that  shall  cease  will  follow  me 
in  a  better  world. 

'^C.   M.  WiELAND.' 


S  2 


CHAPTER  X. 


MIDDLE  AGE. 

In  a  pleasant  paper  upon  biography,  lately 
written,  the  question  is  asked,  How  far  is  a 
biographer  justified  in  exhibiting  the  frailties 
and  defects  of  the  subject  of  the  memoir?" 
The  answer  is,  The  whole  man  or  woman, 
or  none  at  all."  And  this  even  at  the  risk 
of  dethroning  a  popular  hero  such  as  was 
Carlyle.  If  this  principle  is  allowed  (and  we 
must  acknowledge  it  to  be  a  right  one),  it  is 
perfectly  justifiable  to  lay  bare  to  the  reader 
the  smaller  imperfections,  which  can  hardly 
be  called  frailties,  which  made  part  of  the 
really  excellent  character  of  Angelica  ;  one 
of  these  being  her  exceeding  vanity  which  in- 
clined her  to  accept  homage  wherever  and 
however  at  was  offered,  together  with  the 


Middle  Age. 


261 


feminine  weakness  of  being  all  things  to  all 
men.  Hence  we  find  from  Herder  s  letters 
to  his  wife  ^  that  after  Goethe's  departure 
from  Rome,  a  friendship,  on  precisely  the 
same  half-sentimental,  half-platonic  lines,  grew 
up  between  himself  and  Angelica ;  and  of 
this  friendship  no  word  is  spoken  by  her  in 
her  letters  to  Goethe,  laid  before  the  reader 
in  the  last  chapter.  This  reticence  on  her 
part  will  easily  be  understood  by  her  own 
sex,  but  it  nevertheless  implies  a  want  of 
sincerity.  Herder,  on  the  other  hand,  is 
wonderfully  frank  in  the  confession  of  his 
feelings  in  regard  to  her,  especially  when 
we  take  into  consideration  the  fact  that  his 
confidante  was  his  wife,  who  could  hardly 
have  relished  his  devotion  to  another  than 
herself.  For  the  rest  the  letters  are  interest- 
ing, as  showing  the  singular  influence 
Angelica  exerted  over  men's  minds,  even  at 
an  age  when  such  influence  is  supposed  to 
cease  ;  and  likewise  as  giving  an  insight  into 

^  Caroline  Flachsland.  Her  correspondence  with 
Herder  before  her  marriage  is  a  most  charming  contri- 
bution to  literature. 


262  Angelica  Ka74.ffmann. 

her  life,  adding  a  testimony  to  that  of 
Goethe  that  she  was  overtasked  to  provide 
money  for  the  household.  Zucchi  was  un- 
doubtedly avaricious,  as  the  future  disclosed. 
He  was  saving  his  own  mofiey  and  spend- 
ing hers,  hardly  earned  as  it  was.  Der 
alte  Zucchi  ist  geizig,^^  ^  writes  the  Duchess 
Amalie  in  one  of  her  letters,  and  Herder 
alludes  several  times  to  her  being  a  victim 
sacrificed  in  every  way  to  the  greed  of  her 
father  and  husband. 

It  will  be  remembered  that  the  German 
philosopher  arrived  in  Rome  after  Goethe 
had  left  it.  He  came  in  the  company  of 
Baron  von  Dalberg  and  Frau  von  Secken- 
dorff.  He  travelled  at  the  charges  of  the 
baron,  and  the  story  of  his  many  discomforts 
and  his  final  rupture  with  his  friend  is  pleasant 
to  read.  One  of  his  first  visits  was  paid  to 
Angelica,  and  he  gives  his  impressions  of 
her  in  a  letter  to  his  wife  : — 

September  21st. 
Rome. 

I  have  just  been  to  Angelica;  she  is  a 
^  "  Old  Zucchi  is  stingy.'' 


Middle  Age. 


263 


delicate,  tender  soul,  artistic  to  her  linger 
tips,  extraordinarily  simple,  without  any 
bodily  charm,  but  extremely  interesting. 
Her  principal  attraction  is  her  simplicity 
and  extreme  purity  ;  she  reminds  me  of  a 
Madonna,  or  a  little  dove.  Alas  !  for  the 
sake  of  art  and  the  world  generally,  she  is 
growing  old.  She  lives  retired  in  an  ideal 
world  in  which  the  little  birds  and  the  flowers 
dwell.  Poor  old  Zucchi  is  a  good  sort  of 
man  in  his  own  way  ;  he  resembles  a  Vene- 
tian nobleman  in  a  comedy." 

By-and-by  he  grows  more  eloquent  : — 
''These  last  few  weeks  have  been  purified 
and  brightened  by  my  friendship  with 
Angelica.  Oh  !  what  torments  might  I  have 
spared  myself  had  I  only  known  earlier  this 
noble  creature,  who  lives  shy  and  retired  as 
a  heavenly  being.  Since  my  return  from 
NapleSj  I  have  drawn  nearer  to  her,  and  she 
is  dearer  to  me  than  all  in  Rome.  I  am  so 
happy  with  her ;  she  on  her  side  regards  me 
with  the  deepest  reverence,  while  of  thee  she 
speaks  tenderly  and  with  a  certain  timidity. 
She  looks  upon  thee  as  one  of  the  happiest  op 


264  Angelica  Kauffmann. 


wo7nen.  The  impression  this  gifted  creature 
has  made  upon  my  mind  is  indelible  ;  it  will 
last  my  whole  life,  for  she  is  utterly  devoid  of 
envy,  free  from  vanity,  and  incapable  of  in- 
sincerity. She  knows  not  what  meanness  is, 
and,  although  she  is  perhaps  the  most  culti- 
vated woman  in  Europe,  is  full  of  the  sweetest 
humility  and  the  most  angelic  innocence.  I 
tell  thee  all  this,  my  own,  because  I  know 
that  from  thee  I  need  hide  nothing,  and  be- 
cause thou  wilt  rejoice  with  me  that  after  my 
bitter  months  of  solitude,  I  have  found  this 
pearl,  or  rather  lily,  which  heaven  has  vouch- 
safed to  me  as  a  blessing  and  reward.  It  is 
in  this  light  that  I  regard  her." 

Madame  Herder  was  no  doubt  an  amiable 
woman  and  an  excellent  wife  ;  her  letters 
prove  this;  but  it  must  be  acknowledged  she 
was  sorely  tried  as  post  after  post  brought 
her  rhapsodies  of  this  sort  over  the  perfection 
of  another  woman.  Here  is  another  follow- 
ing close  on  the  last : — 

Rome,  —  14th. 
Angelica  sends  thee  a  tender  souvenir — it 


Middle  Age. 


came  on  Easter  Day  ;  a  little  ring,  which  I  am 
to  put  on  thy  finger,  and  with  it  I  now  seal 
this  letter.  On  this  side  of  the  Alps  I  may 
look  on  it  as  mine  own,  and  on  my  return 
give  it  to  thee  from  thy  sister.  No  one 
knows  of  this  little  present  except  the  good 
Rieffenstein,  who  ordered  it  for  her/  It  is, 
indeed,  a  faithful  symbol  of  her  pure  tender 
soul,  for  truly  Friendship  and  Love  are  one. 
So  she  represents  her  little  soul  {seelchen)  as 
a  tiny  sparrow  resting  upon  a  branch  of 
myrtle,  a  type  that  our  union  shall  exist 
absent  or  present.  Do  not  say  anything  of 
this  to  anyone,  but  take  the  remembrance  as 
it  is  meant,  in  good  part.  A  purer,  more 
exquisite  creature  does  not  exist  on  earth. 
Like  to  a  pious  victim,  she  has  all  her  life 
been  sacrificed  to  her  art,  for  it  she  has  lived 
and  still  lives  ;  now  she  is  nearly  fifty  years 
old,  and  it  is  still  the  same.  She  loves  me 
with  a  warm  affection,  and  I  love  and  honour 
her  as  a  saint.  Do  not,  however,  believe, 
my  dearest  w4fe,  that  my  affection  for  her 
would  keep  me  one  day  longer  in  Rome  than 
^  Rieffenstein  is  again  enacting  the  part  of  Mercury  ! 


266  Angelica  Kauffmann. 


it  is  right  for  me  to  remain.  Angelica  would 
be  the  first  to  advise  me  to  go,  if  she  saw  me 
inclined  to  stay,  for,  with  all  her  tenderness, 
she  has  a  strong  and  almost  masculine  mind. 
Therefore,  it  is  that  I  reckon  so  strongly 
upon  her  sympathy,  and  see  such  a  wonder- 
ful dispensation  in  this  friendship.  I  regard 
it  as  the  germ  of  far  more  in  the  future,  and 
neither  time  nor  absence  shall  interrupt  it. 
It  is,  I  think,  a  reward  for  my  undertaking 
this  journey,  a  panacea  for  all  I  have  under- 
gone, and  thou  also,  my  dearest,  must  look 
upon  it  from  this  point  of  view.  The  birth 
of  this  friendship  has  awakened  in  me  a  tardy 
prudence  and  a  resolution  to  live  henceforth 
for  thee  and  my  dear  ones,  for  nov/  I  feel  more 
strengthened  in  good  than  I  have  ever  been.'' 
In  a  letter  dated  the  20th  April,  he  makes 
allusions  to  her  lonely  life  unblessed  by  chil- 
dren, and  adds  :  But  she  is,  indeed,  an  angel 
of  a  woman,  and  her  goodness  sets  the 
balance  right  between  me  and  others  of  her 
sex,  who  have  done  me  bad  turns.  She  has 
the  activity  of  a  man,  and  has  done  more 
than  fifty  men  would  have  done  in  the  time. 


Middle  Age. 


267 


In  goodness  of  heart  she  is  a  celestial  being. 
I  gave  her  thy  kiss  as  it  stood  in  thy  letter, 
without  transferring  it  to  her  lips.  Once  I 
did  kiss  her  on  the  forehead,  and  once  she 
unexpectedly  seized  my  hand  and  would 
press  it  to  her  Hps.  There,  that  is  all 
between  us  !  I  thank  my  God  that  He  made 
me  to  know  this  pure  soul,  and  that  through 
her  I  carry  away  one  pleasant  memory  from 
Rome.  She  is  with  us  constantly,,  sometimes 
with  the  duchesSj  who  loves  her  on  account 
of  her  great  modesty.  I  am  with  her  every 
moment  I  can  spare.  She  came  unexpectedly 
to  Frascati,  and  I  do  not  know  if  she  will 
also  come  to  Tivoli. 

''Thou  must  love  Angelica  for  my  sake, 
for  she  deserves  it,  the  strangely  tender^ 
loving  soul ;  she  knows  thee,  and  we  speak 
of  thee  often,  and  then  she  says  softly  she 
esteems  thee  to  be  very  happy.  The  story 
which  you  heard  from  Frau  von  Stein  ^  is 
false,  although   I  myself  do  not  know  the 

'  Frau  von  Stein  had  told  Madame  Herder  that  in 
her  youth  Angelica  had  married  a  villain  who  thought 
she  \yas  rich,  and  had  run  away  with  her  money  and 
jewels. 


268  Angelica  Kauffmann. 


exact  circumstances  of  the  true  story.  Once 
she  began  to  tell  it  to  me,  but  her  grief  at 
the  recollection  would  not  let  her  finish. 
Take  the  letter  she  sends  thee  kindly  ;  she  is 
not  strong  in  words,  but  in  deeds  a  most 
honest  soul.  English  and  Italian  she  speaks 
and  wTites  beautifully,  German  is  to  her 
almost  a  strange  language.^  H*er  best 
wishes  accompany  me  when  I  go,  and  her 
friendship  yt?r  us  both  will  last  as  long  as  we 
live.  This  is  the  confession  of  my  heart's 
feelings  while  in  Rome,  written  only  for  thee, 
for  I  must  and  always  shall  write  to  thee 
what  fills  my  heart." 

This  ingenuous  confession  of  his  heart's 
feeling,  together  with  the  kissing  passages, 
did  not  quite  please  Madame  Herder.  She 
writes  to  her  husband  that  she  feels  like 
Ariadne  deserted  by  Theseus,  and  urges  his 
return  to  his  home  and  family.  Herder's 
answer  is  an  amusing  effort  to  calm  any  little 
jealousy  that  may  have  arisen  in  his  wife's 
mind,  and  impress  upon  her  Angelica's  friend- 
ship for  her, 

^  Her  letters  to  Goethe  are  full  of  mistakes  in  spelling. 


Middle  Age. 


269 


f  count  Angelica  amongst  my  true 
friends.  She  in  years  is  much  older  than  I 
am,  and  she  is  more  a  spiritual  than  a  cor- 
poreal being.  She  is,  however,  such  a  true 
heart,  so  few  like  her,  and  through  hearing 
constantly  of  thee  from  me,  she  loves  thee 
also.  So  in  every  way  she  is  worthy  of 
being  joined  to  us  by  a  close  bond  of  friend- 
ship. She  often  says  to  me  that  the  whole 
happiness  of  her  life  depends  upon  the  con- 
tinuance of  this  bond  ;  that  she  would  wish 
to  die  now,  since  she  has  (and  truly  only  for 
such  a  short  time)  seen  and  known  me  ;  it  is 
to  her  as  a  dream.  I  write  to  thee,  my 
dearest,  everything,  because  it  is  my  habit  so 
to  do.  Thou  knowest  that  these  words  of 
hers  do  not  make  me  vain,  but  rather  humble. 
I  look  upon  the  friendship  of  this  dear  and 
noble  woman  as  a  gift  that  Heaven  has  sent 
me,  which  has  turned  me  from  all  else,  and 
in  a  theoretic  manner  has  elevated  my 
thoughts  and  improved  my  whole  being,  for 
she  charms  the  mind,  purifies  and  softens  it, 
and  is  a  good  tender  creature.  Do  love  her 
for  my  sake,  dearest ;  she  is  so  good,  and  her 


270  Angelica  Kauffmann. 


life  is  not  happy.  For  the  remainder  of  our 
poor  lives  we  shall  do  all  things  to  please  this 
willing  victim  to  art.  She  sends  you  a 
thousand  greetings.  I  told  her  yesterday 
when  I  saw  her  for  a  few  moments,  that  this 
day  would  be  the  anniversary  of  our  wedding- 
day,  and  so,  if  it  be  possible,  I  am  to  go  to 
her  this  evening,  and  we  will  bear  you  and 
the  children  in  remembrance." 

In  the  postscript  to  this  same  letter,  he 
adds  the  following  : — 

'*When  I  went  this  evening  to  Angelica, 
she  with  infinite  grace  slipped  upon  my 
finger  a  little  gold  chain  as  a  remembrance 
of  to-day  ;  she  said  it  was  for  us  both.  She 
is  in  every  way  a  sweet,  angelic  and  pure 
woman.  Thou  must  promise  an  eternal 
friendship  to  her,  and  with  me  render  thanks 
to  Heaven  who  has  given  her  to  me  to  know 
and  to  love." 

On  the  9th  May,  Herder  writes  to  his 
Caroline  an  account  of  an  expedition  to 
Tivoli,  to  which  Madame  Angelica  came  un- 
expectedly.} 

1  This  was  the  party  to  Tivoli  already  mentioned  in 
Angelica's  letter  to  Goethe. 


Middle  Age. 


271 


Her  silent,  modest  grace,"  he  says, 
'Ogives  the  tone  to  the  company  she  is 
amongst  ;  like  to  a  chord  of  music  she  is  in 
harmony  with  all.  Oh,  what  an  exquisite 
nature  is  hers — a  nature  like  to  thine  own, 
my  dear  one  ;  like  thee,  she  makes  no  claim 
upon  our  admiration,  but  is  full  of  sympathy 
and  tender  feeling  for  others.  I  leave  Rome 
content,  now  that  I  have  been  to  Tivoli." 

Then  he  goes  on  about  Caroline's  journey 
to  Carlsbad,  and  concludes  with  : — 

My  best  and  dearest,  do  not  constrain 
thyself,  if  thou  would  prefer  to  remain  at 
home.  Thou  hast  received  by  this  time  my 
letter,  and  wilt  know  how  best  to  decide.  It 
was  thy  remark  as  to  being  '  Ariadne  ' 
which  gave  rise  to  the  idea  in  my  mind. 
But  fear  not.  Where  could  I  go  but  to  thee  ? 
Everything  draws  me  to  thee,  and  thou 
wilt  no  longer  find  me  rough  and  fierce, 
but  gentle,  tender,  forbearing.  Oh,  I  have 
learned,  if  I  never  knew  it  before,  what  I 
have  in  thee.  Also  fear  nothing  from  the 
Angelica  friendship.  She  is  the  best  woman 
in  the  world  ;  the  most  thoroughly  honest  ; 
besides,  her  mind  and  mine  are  turned  to 


272  Angelica  Kauffmann. 


other  things.  As  I  have  many  times  re- 
peated, she  is  truly  modest ;  she  honours 
thee  as  a  sort  of  divinity,  and  loves  me  in  a 
spiritual  manner.  She  greets  thee  affection- 
ately, and  you  can  receive  this  greeting  from 
my  hand.  She  is  in  truth  an  angel.  At 
Tivoli  her  silhouette  was  taken,  which  I  shall 
send  you  in  my  next.^' 

His  next  is  the  last  of  this  remarkable 
series  of  letters  : — 

13th  May,  1789. 
Well  then,  in  God's  name,  my  trunk  is 
packed.    All  is   ready  ;  to-morrow  I  leave 
Rome  for  Pisa.    I  am  well,  and,  all  things 
considered,  have   had  a  time   in  Rome  of 

which  few  strangers  can  boast. 

*  ^  *  *  * 

Angelica,  who  is  dear  and  good  beyond  all 
expression,  greets  thee  cordially,  and  sends 
thee  her  silhouette.  Take  it  with  feelings  of 
love  and  kindness.  The  angel  has  made  me 
during  these  last  weeks  inexpressibly  happy. 
I  would  I  had  known  her  earlier ;  the  good, 
excellent,  tender,  beautiful  soul.  She  likes 
me  as  much  as  I  do  her  ;  our  friendship  will 


Middle  Age. 


grow  stronger  year  by  year,  for  it  is  founded 
upon  the  purest  esteem  and  love.  So  too, 
must  thou,  if  thou  wilt  please  me,  take  her 
heartily  to  thy  heart.  Thou  wilt  do  so  when 
thou  knowest  her  better,  the  tender,  loving 
creature.  The  duchess  esteems  her  highly  ; 
so  do  all  who  come  in  contact  with  her,  for 
she  lives  and  acts  as  a  beneficent  being. 
To-day  I  dine  with  her,  and  to-morrow  we 
take  our  last  drive  together.  May  Heaven 
bless  and  preserve  this  sweet  woman.  Fare- 
well, my  good  soul,  no  longer  to  be  a 
desolate  Ariadne.  Farewell  !  think  joyfully  of 
my  return.  I  am  far  happier  than  I  deserve 
to  be." 

Herder's  hopes  as  to  the  continuance  of 
this  friendship  do  not  seem '  to  have  been 
realized.  Whether  Madame  Herder,  as  a 
wife  sometimes  does,  put  her  foot  down  upon 
the  intimacy  founded  upon  the  purest  lines 
of  love  and  esteem,"  or  whether  Herder  him- 
self, with  the  erratic  nature  of  a  genius,  grew 
tired  of  his  worship  of  this  beneficent  being, 
does  not  appear.  The  letters  which  he  may 
have  written  shared  the  same  fate  as  those 

T 


2  74  Angelica  Kauffmann. 


of  Goethe.  The  one  quoted  in  the  next 
chapter  is  written  in  a  cold  strain,  very  unlike 
his  former  rapturous  expressions.  In  his 
case  it  is  evident  that,  contrary  to  the  poet's 
idea,  absence  did  not  make  his  heart  grow 
fonder.  All  through  this  curious  correspond- 
ence of  Herders,  allowance,  however,  must 
be  made  for  the  nature  of  the  poet-philo- 
sopher, which  was  highly  strung,  sensitive 
and  altogether  Teutonic.  His  seelen  senti- 
mentalitdt  meant  very  little,  certainly  nothing 
dangerous  ;  neither  can  it  be  gainsaid  that 
the  friendship  and  admiration  of  such  men  as 
Herder  and  Goethe  is  a  rare  testimony  to 
the  worth  and  attractions  of  Angelica. 


CHAPTER  XI. 


LAST  YEARS. 

The  parting  with  her  German  friends  had 
saddened  Angelica,  whose  spirits  were  already 
depressed  by  the  state  of  the  political  horizon. 
Already  the  first  grumblings  of  the  storm 
could  be  heard,  which  in  a  few  years  burst 
with  such  tremendous  violence  over  the 
whole  continent  of  Europe,  uprooting  in  its 
course  all  old  institutions,  and  wrecking  social 
order. 

No  thinking  mind  could  contemplate, 
without  grave  fears  for  the  future,  the 
power  of  the  revolutionary  party,  which 
was  increasing  every  day  in  violence,  and 
would  end  in  general  chaos.  Angelica  was 
especially  concerned  for  her  beloved  art. 
She  feared  the  time  was  at  hand  when  all 
that  was  refined  would  be  dragged  down  and 
*     T  2 


276  Angelica  Kaitffmann. 


degraded.  As  the  years  went  on  this  fear 
strengthened,  as  the  dangers  which  had 
only  existed  in  the  imagination  of  the  more 
thoughtful  became  sickening  realities.  It 
was  fortunate  for  Angelica  that  her  work, 
which  was  ever  on  the  increase,  gave  her  so 
much  occupation,  that  her  mind  could  not 
dwell  on  the  horrors  every  day  occurring, 
which  filled  her  tender  heart  with  pain. 

So  far,  Angelica  had  suffered  from  no 
diminution  of  income.  In  the  earlier  portion 
of  the  social  revolution,  the  area  was  confined 
to  France,  the  way  to  Italy  remaining  open. 
Travellers,  especially  the  English,  continued  to 
flood  Rome,  and  to  give  large  orders  to  the 
artists.  In  1790  the  Miss  Berrys  and  their 
father  travelled  all  through  Italy,  and  in  1791 
there  came  to  Rome  the  lovely  Lady 
Hamilton,  Emma  Lyon,  whose  story  is 
stranger  than  that  of  any  fiction,  not  the 
least  strange  portion  being  the  infatuation  of 
her  doting  husband,  who  believed  in  her  to 
the  end.  Madame  le  Brun,  in  her  amusing 
reminiscences,  tells  a  characteristic  trait  of 
this    ''refined'^    gentleman,  representative 


Last  Years. 


277 


of  his  gracious  Majesty  of  England. 
Nearly  all  the  portraits  of  his  beautiful 
Emma  were  not  so  much  proofs  of  his 
affection  and  admiration  as  commercial  spe- 
culations, as  he  sold  them  to  her  dif- 
ferent admirers  at  a  far  higher  price  than 
he  gave  for  them  ;  and  when  Madame  le 
Brun  made  him  a  present  of  a  beautiful 

Bacchante/^  for  which  Lady  Hamilton  had 
sat  as  model,  he  sold  this  likewise  to  the 
Due  de  Bracas. 

Angelica  painted  the  lovely  Emma,  in 
a  half-length,  as  the  Comic  Muse  "  ;  ^  not  a 
happy  selection,  considering  it  would  have  to 
run  the  gauntlet  of  comparison  with  Romney's 
exquisite  production  of  the  same  subject. 
The  picture  was  not  successful,  and  was  the 
cause  of  a  quarrel  between  her  and  the  cele- 
brated Italian  engraver,  Wilhelm  Morghen — 
who,  in  his  reproduction,  changed  some 
portion  of  the  original,  which  annoyed 
Angelica  so  much  that  she  would  not  allow 
her  name  to  be  put  to  it  as  the  artist.  She 
was  seldom  known  to  show  so  much  irrita- 

^  She  painted  Lady  Hamilton  twice  as  a  Bacchante. 


278  Angelica  Kauffmann. 


tion  as  at  this  liberty  being  taken  with  her 
work,  one  which  had  never  been  attempted 
by  such  engravers  as  Bartolozzi,  Schiavonetti, 
or  others.  On  another  occasion,  Raphael 
Morghen,  brother  to  Wilhelm,  took  a  greater 
liberty.  In  engraving  the  portrait  of  a  gentle- 
man after  one  of  her  pictures,  he  altered,  or, 
according  to  his  idea,  improved  upon  it,  by 
adding  to  the  figure  in  length.  Angelica, 
indignant  at  such  audacity,  made  an  addition 
not  much  to  his  satisfaction.  She  wrote  at 
the  foot  of  the  portrait  : — 

Non  e  di  Angelica  Kauffmann.^' 

There  was  no  doubt  the  artist  had  justifi- 
cation for  her  anger.  The  painter  looks  upon 
the  engraver  as  the  author  does  upon  the 
translator  of  his  book,  who  should  make 
a  faithful  version,  and  take  no  liberties  with 
the  text.  Two  large  pictures  for  the 
Duchess  of  Courland  formed  part  of .  the 
work  of  these  years  : — Telemachus  and 
Mentor  on  the  Island  of  Calypso,"  a  very 
pleasing  picture  (this  subject  had  already 
been   painted    for    an   English  lady) ;  the 


Last  Years. 


other  was  Adonis  going  to  the  Boar  Hunt.'' 
Horace's  words,  ^  Bacchum  in  remotis 
carmina  rupibus  Vidi  docentem,"  gave  her  a 
subject  for  another  picture.^  For  the  Princess 
of  Anhalt-Dessau  (besides  her  portrait  full 
size)  she  painted  Psyche  swooning  when  the 
vessels  were  opened,  in  which  were  contained 
the  ointment  for  beautifying  Proserpina," 
also  Cupid  drying  the  tears  of  Psyche  with 
.her  own  hair."  Sternberg  calls  this  a 
beautiful  creation,  but  adds  that  the  artist 
herself  thought  very  little  of  it,  believing 
herself  called  to  the  grand  historical  style, 
for  which  no  painter  of  her  time  was  less 
fitted. 

Sternberg  as  usual  has  truth  in  this 
criticism.  He  forgets,  however,  that  the  large 
canvases  in  which  Angelica  indulged  were 
in  a  measure  forced  upon  her,  being  mostly 
commissions,  the  purchaser  wishing,  it  would 
seem,  to  take  the  worth  of  his  money  in 
quantity  more  than  quality.    That  the  classics 

^  From  Horace's  Ode  to  Bacchus,  ii.  19. 
^  She  also  painted  this  year  the  infant  children  of  the 
Duke  and  Duchess  of  Gloucester. 


28o  Angelica  Kauffmann. 


should  have  been  ransacked  for  subjects 
appears  to  us,  in  this  day,  a  strange  fancy, 
when  the  tales  of  classical  history  have  be- 
come almost  obsolete. 

Our  ancestors  and  their  wives,  and 
daughters  too,  were  much  better  read  in  these 
matters  than  we  are,  learned  as  we  think 
ourselves.  (One  notable  lady,  Mrs.  Eliza- 
beth Carter,  translated  Epictetus  "  ;  Miss 
Berry  wrote  papers  on  Xenophon  "  ;  Mrs. 
Thrale  composed  odes  in  the  style  of  Horace.) 
Most  of  them  could  have  passed  an  examina- 
tion in  classical  history,  whereas  it  would 
puzzle  some  of  us  to  tell  who  was  Germanicus, 
whose  ashes  were  held  in  a  golden  vessel, 
and  what  was  the  nature  of  Papirius  Praetex- 
tatus's  little  joke  with  his  mother.^ 

1  Praetextatus,  being  entreated  by  his  mother  to  dis- 
close the  secret  of  the  Senate,  told  her,  to  escape  impor- 
tunity, that  it  had  been  debated  whether  it  would  be 
more  useful  to  the  republic  for  the  husband  to  have  two 
wives,  or  the  wife  two  husbands.  The  following  day  the 
Roman  ladies  went  to  the  Senate  to  request  that  wives 
might  have  two  husbands.  The  amazement  of  the 
Senate  was  great,  when  Praetextatus,  being  present,  con- 
fessed his  joke,  and  was  much  applauded  for  his  in- 
genuity.— EoiJian  History. 

There  is  a  very  charming  engraving  (very  rare)  of 


Last  Years. 


281 


Angelica's  classicalities  must  therefore  have 
been  acceptable  to  her  public,  which  accounts 
for  her  persistent  choice  of  such  subjects. 
Thus  we  have  again  : — Agrippina  holding 
the  golden  vessel  which  contained  the  ashes 
of  Germanicus "  ;  Pyrrhus/'  a  very  fine 
picture  bought  by  Count  Brown  ;  Praxiteles 
presenting  the  little  Statue  of  Cupid  to 
Phryne  "  ;  Phryne  seducing  the  Philosopher 
Xenocrates ;  and  the  Nymph  Egeria 
showing  Numa  Pompilius  the  splendours  of 
the  Celestial  Shield "  :  the  last  three  were 
in  her  best  manner.  ''The  Redeemer  at 
the  well,  conversing  with  the  Woman  of 
Samaria,"  and  '^The  Prophet  Nathan  re- 
proaching David, were  half-lengths  of  in- 
different merit. 

In  1 79 1  she  sent  to  the  Royal  Academy, 
The  Death  of  Alcestis,"  who  purchases  her 
husband's  life  with  the  sacrifice  of  her  own, 
subject  taken  from  the  tragedy  of  Euripides  ; 
also  ''Virgil  reading  the  ^neid  to  Augustus 

the  nine  muses  of  Great  Britain.  It  is  an  oval,  with  Mrs. 
Carter,  Mrs.  Barbauld,  Mrs.  AngeUca  Kaufifmann,  Mrs. 
Sheridan,  Mrs.  Lennox,  Mrs.  Macaulay,  Mrs.  More, 
Mrs.  Montagu,  and  Mrs.  Griffith. 


282  Angelica  Kauffmann. 


and  Octavia/'  for  Prince  J osepofif.  She  worked 
up  the  Story  of  Venus  advising*  the  wife  of 
Menelaus  to  love  Paris,''  and  the  melancholy 
history  of  Ovid's  Banishment  from  Sulmo." 
From  the  Prince  of  Waldeck  she  received  a 
commission  to  paint  the  first  meeting  of 
Hero  with  Leander ;  amongst  the  Vestals 
who  accompany  Hero,  she  represented  the 
affianced  bride  of  the  Prince.  The  Duke  of 
Sussex,  who  was  then  in  Rome,  making  love 
to  the  luckless  Lady  Augusta  Murray,  had 
his  portrait  painted  in  a  Highland  uniform 
with  a  large  mastiff ;  and  for  Lord  Berwick, 
who  also  sat  for  his  portrait,  she  painted 
two  large  pictures,  Euphrosyne  wounded 
by  Cupid,''  and  Ariadne  mourning  over 
the  desertion  of  Theseus.''  Euphrosyne" 
was  exhibited  in  1796  at  the  Royal 
Academy,  and  excited  considerable  admira- 
tion. '  Euphrosyne  and  Cupid,'"  says  an 
art  critic  of  the  day,  Pasquin,  '*are  designed 
by  the  pencil  of  fascination  ;  the  Goddess  of 
Love  (Venus)  is  not  so  happily  represented 
either  in  attitude  or  featural  expression  ; 
the   extravagance   of  the    Grecian  model 


Last  Years. 


283 


is  happily  avoided  throughout  this  picture, 
and  the  colouring  is  in  the  chastest  Italian 
school." 

So  far  back  as  1790  a  new  inmate  had 
formed  part  of  the  Zucchi  household. 
Antonio  had  up  to  this  period  taken  upon 
himself  all  business  arrangements,  as  well 
as  the  management  of  the  establishment, 
Angelica's  constant  occupation  affording  her 
no  time,  as  we  have  seen,  for  being  what  is 
called  mistress  of  the  house.  So  far  this 
joint  arrangement  had  worked  excellently  ; 
but  now  Antonio's  health  began  to  give  way. 
For  a  long  time  one  of  his  hands  had  been 
troubled  by  a  paralytic  affection,  so  that  he 
found  it  difficult  to  paint,  although  he  tried 
to  do  so  on  a  peculiarly  constructed  table. 
The  state  of  the  Continent,  too,  affected  his 
spirits,  which  were  at  all  times  of  a  gloomy 
type.  The  horrors  passing  in  France  would 
soon  shake  all  Europe,  and  threaten  all 
commercial  interests ;  and  in  the  bad  days 
coming,  he  felt  it  would  be  well  for 
Angelica  to  have  a  male  protector  of  her 
own  kith   and   kin.    He   therefore  wrote 


284  Angelica  Katcffmann. 


to  a  young  cousin  of  hers  in  Schwartzen- 
berg,  Anton  Joseph  Kauffmann,  to  come  and 
undertake  the  work  to  which  he  no  longer 
felt  himself  equal,  and  in  which  he  in- 
structed him.  In  every  way  Anton  Kauff- 
mann proved  himself  worthy  of  the  choice, 
and  Angelica,  later  on,  had  good  reason  to 
thank  her  husband  for  his  provident  care. 

Through  the  surrounding  gloom  occasional 
glimpses  of  the  life  she  loved  best  would 
come  to  Angelica,  as  when  her  friend  Herder 
wrote  to  her,  heralding  the  arrival  of  a  sister 
artist  : — 

To  Madame 

Angelica  Kauffmann-Zucchi,  Rom. 
''Weimar,  den  loth  Sept.,  1795. 
''  Madame  Le  Brun,  from  Copenhagen,  a 
lady  of  singular  talent,  both  in  art  and  poetry, 
and  possessed  of  many  accomplishments  and 
agreeable  qualities,  is  desirous  on  her  ap- 
proaching visit  to  Italy  to  make  the  acquaint- 
ance of  the  charming  Angelica,  and  who  is 
there,  who  visits  Rome,  be  he  virtuoso  or 
artist,  who  does  not  desire  her  friendship  ? 


Last  Years. 


285 


Madame  Lebrun  is  sister  to  Doctor 
M (inter,  who  was  in  Italy  some  years  ago. 
Her  father/  a  very  worthy  man,  died  lately. 
Her  knowledge  of  Italy  surprises  me,  and,  if 
the  climate  suits  her,  it  is  her  intention  to 
establish  herself  in  that  interesting  country 
for  a  residence  of  some  years. 

Will  you  permit,  my  honoured  friend, 
that  this  note  should  act  as  a  Mercury  to  your 
antechamber,  and  introduce  to  you  Meyer,^ 
who  leaves  this  in  a  few  weeks  for  Rome,  and 
will  present  himself  charged  with  a  long 
letter  from  me  ? 

Farewell,  gentle  mistress  of  the  new  art 
and  of  modest  beauty. 

My  wife  desires  her  devoted  remem- 
brance. It  is  so  long  since  you  have  written 
that  you  must  have  forgotten  us,  but  we  have 
not  forgotten  you. 

Once  more  farewell.  My  kind  regards 
to  Herr  Zucchi. 

Herder. 

^  Dr.  Miinter,  collector  of  coins.  The  lady  in 
question  was  the  celebrated  artist,  Madame  Vig^e 
Le  Brun. 

^  Heinrich  Meyer,  a  Swiss  artist. 


286  Angelica  KatLffmann. 


I  do  not  know  if  Herr  Lebrun  accompanies 
his  wife.  He  is  a  very  worthy  man,  of  con- 
siderable property  and  great  speculations 
with  half  Europe.  Farewell.'^ 

Meanwhile,  the  outlook  was  growing  more 
and  more  gloomy,  there  was  no  security  for 
either  life  or  property,  and  those  who  had 
not  suffered  themselves,  were  trembling  for 
what  was  to  come. 

Angelica  felt  for  her  friends'  misfortunes 
acutely,  and  was  harassed  with  doubts  and 
apprehensions  as  to  her  own  future. 

Already  the  number  of  visitors  to  Rome 
was  diminishing.  Soon  they  would  alto- 
gether cease,  and  with  them  the  orders  for 
which  they  paid  so  handsomely.  There  was 
another  source  of  anxiety,  in  the  transport  of  her 
finished  orders  to  their  different  destinations, 
which  involved  immense  risk.  Stolberg,^ 
writing  to  her  about  this  time,  speaks  of  this 

^  Count  Leopold  Stolberg,  a  dilettante  of  the  first 
class— poet  and  artist.  He  wrote  an  ode  to  Angelica, 
beginning — 

Immortality  embraced  thee, 
"Wisdom  was  thy  teacher, 
Aurora  baptized  thee.'' 


Last  Years. 


287 


danger,  which  he  says  will  last  until  the 
French,  those  enemies  of  God  and  man, 
are  properly  humbled,  or  some  means  are 
found  to  protect  the  sea  from  their  robberies. 
There  was  another  danger  ;  that  the  interest 
of  money  invested  in  English  or  other  funds 
would  not  be  regularly  paid,  or,  if  it  were, 
might  not  come  safe  to  hand.^  In  October, 
1795,  we  find  Angelica  writing  in  great 
anxiety  to  her  trustee  and  solicitor,  Mr, 
Kuliff,  in  London,  as  to  goods  despatched 
nearly  a  year  previously  : — 

Rome,  October,  1795. 

Dear  Sir, —  I  hope  my  letter,  dated 
A^ovember  \*ith,  has  reached  your  hand  before 
now.  I  acknowledged  in  the  same  the  re- 
ceipt of  my  dividend,  paid  to  me  by  your 
orders  by  our  friend  Mr.  Cavaggi. 

I  had  also  the  pleasure  to  learn  the  other 
day  from  Mr.  Jenkins,  that  the  ships  upon 
which  my  pictures  were  loaded  escaped 
being  taken  by  the  French.    I  hope  to  have 

^  See  Supplement,  for  an  account  by  Zucchi  of 
Angelica's  income. — From  ZucchPs  Notebook, 


288  Angelica  'Kauffmann. 


this  news  soon  confirmed.  With  this  oppor- 
tunity I  thank  you  kindly  for  your  attention 
and  goodness  towards  me. 

With  my  most  affectionate  compliments 
to  Mrs.  Kuliff,  I  remain,  with  the  sincerest 
estime, 

Sir, 

Your  most  obliged  humble  servant, 
Angelica  K.-Z. 

P.S. — It  is  a  very  long  time,  I  have  not 
heard  from  my  worthy  friend  Mr.  Braithwaite. 
I  hope  he  is  well.  Should  you  happen  to  see 
him,  pray  give  him  my  kindest  compliments." 

This  letter  was  accompanied  by  one  from 
Zucchi,  written  in  a  querulous,  anxious 
tone,  as  to  the  sale  of  his  house  in  John 
Street,  Adelphi,  and  also  as  to  different 
loans  he  had  made,  one  of  600/.,  a  bad 
debt,  another  of  80/.  or  loc/.  to  an 
Italian  artist,  Locatelli,  a  sculptor  of  very 
indifferent  reputation.  Antonio's  health 
had  been  giving  way  for  some  time,  and 
his  naturally  gloomy  temperament  was  even 
more  impressed  by  the  miserable  prospects 
around  him,  than  Angelicas  more  sensitive 


Last  Years, 


289 


disposition.  His  illness  naturally  intensified 
what  was  worst  in  the  situation,  and  his 
constant  anxiety  hastened  his  end,  inducing 
a  severe  attack  of  jaundice,  from  which  he 
died,  after  a  short  illness,  in  December,  1795. 
A  marriage  on  the  lines  of  this  rather  ill- 
assorted  union  could  not  have  been  supposed 
to  have  been  one  where  the  survivor  would 
feel  the  loss  very  keenly.  Zucchi  made  so 
little  mark  in  Angelica's  life,  that  her 
biographers  make  little  mention  of  his  death, 
beyond  the  mere  fact.  It  therefore  rather  sur- 
prises one  to  find  that  she  was  overwhelmed 
with  affliction  at  the  blow,  and  was  inconsolable 
for  der  alte  Zucchi;"  neither  did  his  will, 
which  is  a  standing  record  of  his  want  of  re- 
gard for  her,  in  any  way  alter  her  sentiments, 
or  abate  her  grief.  It  is  singular  and  unac- 
countable that  Zucchi  should  have  behaved  in 
such  a  manner  to  a  woman  who  had  been  the 
bread-winner  for  so  many  years,  unless  it  were 
that  his  gloomy,  jealous,  Venetian  tempera- 
ment had  nursed  all  through  their  years  of 
married  life,  as  a  grievance  in  his  mind,  the 
stringent  terms  in  which  Joseph  Kauffmann  had 

U 


290  Angelica  Kau^mann. 


secured  to  Angelica  the  use  of  her  own  fortune, 
without  "  intermeddling  on  the  part  of  her 
husband.  He,  in  his  turn,  now  left  her 
nothing  but  a  miserable  pittance  of  fifteen 
pounds  a  year  short  annuities  ;  all  the  rest  of 
his  property,  amounting  to  more  than  four 
thousand  pounds  in  the  funds,  and  the  house 
in  John  Street,  Adelphi,  he  devised  to  his 
brother  and  nephews. 

In  apprising  the  English  solicitors  of  her 
husband's  death,  Angelica  gave  a  short 
synopsis  of  this  will,  and  in  the  affidavit, 
of  the  26th  December,  1795,  declares  that 

Ant.  Zucchi,  on  the  24th  March,  '95,  had 
deposited  his  will  and  that  A.  Z.  at  nine 
o'clock^  last  night  had  departed  this  life." 

^  In  another  affidavit  made  later  she  states 
that  he  bequeathed  68/.,  Locatelli^s  debt, 
to  his  nephew  Frs,,  son  of  Pietro  Zucchi. 
The  30/.  short  annuities,  one-half  to  Ang. 
Kauffmann,  one-half  to  his  brothers  Joseph 

^  This  seems  somewhat  extraordinary,  but  perhaps 
she  had  to  make  the  affidavit  the  day  after  Zucchi's 
decease. 

^  The  papers  connected  with  Zucchi's  will  were  sent 
to  me  by  Mrs.  Thackeray  Ritchie. 


Last  Years, 


291 


and  Pietro  and  his  nephew  Frs.  to  be  enjoyed 
equally ;  4800/.  in  money  also  to  them 
subject  to  survivorship,  with  liberty  to 
invest  it  mutually  into  any  other  stock. 
The  value  of  the  house  to  be  invested  in 
the  bank  of  Venice. 

In  the  following  February  Angelica  wrote 
the  following  letter  to  Messrs.  Kuliff  and 
Greller,  which  is  undoubted  evidence  of  the 
sweetness  and  generosity  of  her  disposition : — 

''Rome,  Feb.  17th,  1796. 

Gentlemen, — I  received  your  kind  favr. 
dated  the  15th  of  January,  the  loth  of  this 
month,  when  at  the  same  time  Mr.  Cavaggi  ^ 
paid  me  by  your  orders  50/.  5^.  for  the  deed 
ye  paid  of  3350/.  I  kindly  thank  ye  for 
your  punctuality  and  attention  and  beg  the 
continuance  of  your  kindness. 

I  daresay  ye  have  before  now  read  my 
last,  written  in  January,  I  forget  the  date,  by 
which  letter  I  announced  to  you  my  mis- 
fortune, the  irreparable  loss  I  sustained  by 
the  death  of  my  worthy  husband,  friend, 
1  The  banker  and  man  of  business  of  the  Zucchis. 
U  2 


292  Angelica  Kauffmann. 


and  best  companion,  but  such  was  the 
will  of  God,  to  which  we  must  submit.  I 
find  in  your  last  favour  that  the  affair  about 
disposing  of  the  house  is  still  in  agitation. 
What  is  done  in  that  is  now  the  business  of 
Mr.  Zucchi's  heirs  in  Venice  ;  perhaps  it  will 
be  necessary  to  inform  them  what  steps  are 
necessary  they  should  take  to  come  into  pos- 
session of  what  was  left  to  them  by  my 
deceased  husband.  To  me  he  has  left  only 
the  half  intei^est  of  his  short  annuity,  the 
other  half  goes  to  his  nephew.  What  I  must 
do  to  come  to  the  possession  of  my  little 
share  ye  will  be  so  good  as  to  tell  me,  as  I 
am  totally  ignorant  about  these  matters  and 
melancholy  affairs. 

I  am  glad  to  hear  from  you  that  all  the 
pictures  arrived  safe  to  their  destiny.  I 
hope  my  two  friends,  Mr.  Keate  and  Mr. 
Braithwaite,  are  both  well ;  when  ye  see 
them  remember  me  to  them,  I  am  sure  they 
take  part  of  my  misfortune,  but  chiefly 
my  good  friend,  Mr.  Kuliff,  to  whom  I 
beg  to  present  my  best  and  most  affectionate 
compliments. . 


Last  Years. 


293 


I  repeat  my  thanks  for  all  your  kindness, 
and  remain,  gentlemen, 

''Your  most  obliged  servant, 

Angelica  Kauffmann-Z." 

To  this  letter  she  adds  the  following  some 
days  later  : — 

Tuesday,  February  20th. 

''This  was  to  have  been  sent  by  last 
Wednesday's  post,  but  as  I  expected  letters 
from  Venice  the  day  following,  I  thought  to 
defer  presenting  this  to  this  day,  in  case  I 
should  have  anything  particular  to  mention 
about  the  affairs  now  pendant  with  Mr. 
Zucchi's  relations.  I  find  that  Mr.  Joseph 
Zucchi,  eldest  brother  to  my  deceased  hus- 
band, has  written  to  ye,  but  at  the  same 
time  he  begs  me  to  recommend  him  to  your 
kindness,  which  I  do  with  the  sincerest 
heart. 

''  The  best  I  think  will  be  to  transact 
business  issues  immediately  with  him,  it  will 
save  time  and  a  little  trouble  to  me  ;  how- 
ever, in  whatever  my  assistance  is  necessary  ^ 
I  shall  be  very  ready  to  give  it. 


294  Angelica  Kauffmann. 


I  have  a  high  regard  for  the  family  of 
my  deceased  husband,  and  approve  what  he 
has  done  in  favour  of  them; 

Pardon  me,  my  worthy  friends,  for  giving 
you  so  much  trouble/' 

This  letter,  in  which  there  is  not  a  word 
of  reproach  or  a  touch  of  bitterness,  exempli- 
fies the  extraordinary  generosity  of  Angelica  s 
disposition,  which  would  not  see  a  fault  in 
the  conduct  of  one  she  esteemed  as  she  did 
Zucchi. 

On  his  tomb  in  the  church  of  St.  Andrea 
delle  Fratte  she  had  inscribed  this  touching 
inscription  : — 

To  my  sweetest,  kindest  husband, 
Not  as  I  had  prayed." 

There  was  no  insincerity  in  these  words. 
To  one  of  Angelica's  tender  loving  nature 
the  outlook  of  a  lonely  life,  widowed  and 
childless,  was  so  terrible  that  death  would 
have  been  infinitely  preferable.  Writing  to 
a  friend  shortly  after  Zucchi's  death  she 
says  :  It  is  not  poverty  I  fear,  but  this 
dreadful  solitude. Her  health  and  spirits  alike 
suffered,  a  hopeless  depression  seemed  to 


Last  Years. 


295 


settle  upon  her  once  bright  nature.  Her 
friends,  alarmed  at  the  continuance  of  her 
melancholy,  made  every  effort  to  rouse  her, 
and  to  induce  her  to  return  to  her  work. 
There  were  imperative  reasons  why  she 
should  do  so,  for  not  only  was  her  income 
considerably  reduced  by  the  death  of  Antonio, 
but  her  money  in  the  English  funds  was 
threatened  by  the  war  which  was  general 
all  over  Europe.  Necessity,  therefore,  was 
added  to  the  entreaties  of  her  friends,  and, 
to  their  gratification,  she  resumed  her  usual 
occupations.  In  after  years  she  would  re- 
joice that  she  had  been  so  necessitated,  saying 
that  she  had  two  consolations — one  that  her 
hands  were  left  to  her,  the  second  that  she 
had  lived  in  the  past- 

Once  she  had  taken  up  work  she  remained 
constant  to  it,  never  laying  down  the  brush 
so  long  as  health  was  left  to  her,  and  in  those 
last  years  some  of  her  best  work  was  done. 
The  Revue  Contempo7^aine  says  her  faults 
of  composition  disappeared,  her  colouring 
was  more  subdued.  In  1797  she  exhibited 
(for  the  last  time)  at  the  Royal  A  cademy  ' '  The 


296  Angelica  Kauffmann. 


Portrait  of  a  Lady  of  Quality. This  was 
probably  Lady  Harcourt,  a  very  fine  por- 
trait. 

Orders,  however,  came  in  very  slowly. 
Rome  was  deserted  by  visitors,  and  money 
was  scarce.  The  Bishop  of  Miinster  gave 
her  a  commission  for  two  large  altar-pieces  ; 
one  of  the  Annunciation,"  the  other  '^The 
Saviour  Calling  the  little  Children  to  come 
to  Him.^' 

Rossi  says  she  executed  both  with  the 
utmost  delicacy  and  devotion,  and  to  the  ex- 
treme satisfaction  of  the  Bishop.  We  may, 
however,  be  allowed  to  doubt  this.  From 
some  cause,  Angelica  found  it  impossible 
to  portray  religious  subjects.  She  was, 
however,  of  a  most  pious  mind.  In 
her  moments  of  solitude,"  says  Rossi, 
this  excellent  lady  was  in  the  habit  of 
occupying  herself  with  holy  thoughts, 
which,  according  to  her  custom,  she  wrote 
down  on  little  pieces  of  paper,  which  she 
preserved  in  her  pocket-book.''  Some  of  this 
trouvaille  the  good  Rossi  collected,  by  which 
it  will  be  seen  how  constantly  she  turned  to 


Last  Years, 


297 


God  as  the  only  source  of  comfort  and  con- 
solation. 

"  Oh  ye,  who  fear  the  Lord, 
Believe  in  Him,  hope  in  Him  and  love  Him  ; 
His  divine  mercy  will  descend  and  console  ye. 

Expect  in  patience  that  thou  dost  expect  from  God. 
Remain  united  to  God  in  order  that  thy  life  may  be  more 
perfect. 

Confide  in  God,  and  He  will  lead  thee  into  the  port  of 
Salvation. 

Oh,  holy  Religion  ! 

Guide  of  poor  mortals  into  peace  everlasting, 
Ah  !  kindle  in  my  heart  fervent  love  for  thee, 
And  be  my  comfort  and  my  stay  in  the  bitter  pains  I 
now  endure." 

This  year  she  undertook  a  large  picture 
of  Religion,  with  all  her  lovely  train. 
Rossi  said  she  did  this  as  a  sort  of  protest 
against  the  infidelity  which  was  now  growing 
rampant,  and  from  the  pious  hope  that  the 
representation  of  the  divine  emblems,  Faith, 
Hope,  and  Charity,  might  rekindle  the  faith 
amongst  the  believers,  for,"  he  adds,  An- 
gelica was  in  all  manner  of  her  life  a  perfect 
Christian,  and  the  attacks  made  upon  religion 
and  the  desecration  of  all  holy  objects  was 
one  of  her  bitterest  trials." 

That  Rossi  is  wrong  in  ascribing  these 


298  Angelica  Kauffmann. 

high-souled  motives  to  Angelica,  is  made 
evident  from  the  following  account  given  by- 
Mr.  Forbes,  an  English  gentleman,  then  visit- 
ing Rome,  for  whom  the  picture  was  painted. 
^  He  says:  ''During  my  stay  in  Rome  in 
the  year  1796,  I  enjoyed  the  greatest 
pleasure  in  cultivating  the  friendship  of 
Angelica  Kauffmann ;  I  had  at  all  times  free 
access  to  her  studio,  where  I  passed  many 
delightful  hours. 

I  was  with  her  when  she  put  the 
finishing  touches  to  her  picture  '  Suffer  little 
Children  to  come  to  Me.'  I  gladly  em- 
braced this  opportunity  of  introducing  the 
sublime  description  of  '  Religion '  and  her 
lovely  train,  which  I  had  copied  from  a 
sermon  by  Doctor  Horne,  of  Norwich, 
before  I  left  England,  in  the  hope  that  I 
should  engage  Angelica  to  paint  me  a 
picture  upon  that  exalted  theme.  She 
entered  deeply  into  the  spirit,  and  said  she 
had  every  hope  of  giving  me  satisfaction. 

'' On  my  leaving  Rome  in  1797,  she  had 
only  made  the  first  sketch  of  her  picture ; 
she  favoured  me  with  a  small  copy  to  let  me 


Last  Years, 


299 


see  what  I  might  expect,  but  in  a  few  weeks 
after,  the  French  entered  Rome,  the  Arts 
and  Sciences  dropped,  and  she  was  involved 
in  the  general  distress/' 

In  Rome  itself  a  Republican  govern- 
ment had  been  established,  and  every- 
thing was  in  utter  confusion.  For  Ange- 
lica it  was  a  terrible  moment ;  all  the 
money  she  had  in  the  local  banks  lay 
there  useless.  An  annuity,  which  she  against 
her  will  had  bought,  shared  the  same  fate  ;  ^ 
a  money  changer  took  advantage  of  her  in- 
experience and  gave  her,  instead  of  an  order 
on  the  London  bank,  paper  money,  which 
was  for  some  time  of  no  value.  A  letter  she 
wrote  at  this  time  to  the  firm  of  Kuliff  shows 
how  harassed  she  was  at  the  situation  in 
which  she  found  herself.^ 

Messrs.   Kuliff,   Greller  and  Company, 
London. 

Rome,  July  23,  i  798. 
Gentlemen, — I  have  yesterday,  the  22 

^  See  Supplement. 

^  This  letter  was  kindly  procured  for  me  by  Messrs. 
Sotheby  &  Co. 


300  Angelica  Kauffmann. 

of  this,  receivd  your  very  obliging  favour, 
dated  May  the  i8,  by  which  I  understand 
that  you  have  receivd  my  dividend  on  the 
5000/.,  and  given  orders  to  Messrs.' Donald, 
Ord  and  Son  at  Florence  to  hold  that  sum 
at  my  disposition  there.  Friends  have  very 
punctualy  informed  me  of  the  order  they 
had,  forwarding  me  your  kind  letter.  With 
this  day's  post  I  write  to  the  sadye  ^  friends 
returning  them  the  quittances  signed  for  the 
76/.  155*.,  enclosing  to  them  at  the  same  time 
this  in  answer  to  yours,  being  at  this  present 
moment  the  securer  channel. 

It  is  fair  that  ye  reimburse  yourself  for  all 
expenses  ye  may  have  on  my  account.  I  am 
glad  that  the  trust  deed  is  settled,  and  that 
my  little  affaires  are  in  the  hands  of  friends 
who  take  my  interest  and  my  advantage  so 
much  to  heart.  I  have  no  words  sufficient 
to  express  ye  the  sentiments  of  my  gratitude  ; 
it  is  indeed  a  great  happiness  to  have  such 
friends  in  these  very  critical  circumstances. 
I  have  thus  far  been  unmolested  till  now,  but 
I  sustained,  for  one  in  my  situation,  very 
considerable  losses  in  paper  money,  in  which 
^  The  original  spelling  is  preserved. 


Last  Years. 


301 


I  had  considerable  sums  now  reduced  to  next 
to  nothing.  This  is  the  fate  of  most  of  the 
inhabitants  of  this  place,  so  that  I  leave  ye 
to  consider  the  consequences  and  misery  of 
the  greatest  number,  some  few  except  who 
had  the  managt  of  affairs.  .  .  .  May  God 
Almighty  save  Engd  from  such  distress. 

Amongst  the  many  unavoidable  vexations 
and  troubles,  thank  God,  my  health  continues 
well  till  now.  A  cousin-german,  who  has 
now  been  with  me  this  6  years  past,  a  very 
honest  man,  takes  care  of  my  affaires,  of  which 
I  have  but  little  notion,  being  used  to  other 
occupations.  Times,  at  present,  tho,  are 
everywhere  unfavourable  to  the  fine  arts, 
yet  I  endeavour  to  occupie  mysellf  as  much  as 
I  can  to  deviate  melancholy  ideas — all  friends 
I  had  in  this  place  are  dispersed,  and  all  is 
changed. 

It  makes  me  happy  to  know  that  my 
worthy  friend,  Mrs.  Kuliff,  and  Mrs.  Henry 
are  both  well.  I  beg  ye  will  present  my 
kindest  compts  to  them  both. 

Nothing  else  remains  to  mention  at 
present,  except  to  ask  your  pardon  for  giving 


302  Angelica  Kauffmann. 

ye  so  much  trouble.  My  obligations  to  ye 
are  infinite,  and  all  deeply  impressed  on  my 
heart.  I  beg  the  continuance  of  your  friendly 
attention,  to  which  I  shall  endeavour  to  prove 
my  gratitude  as  far  as  it  lays  in  my  power. 
Assuring  ye  that  I  am,  and  ever  shall  be,  with 
the  greatest  estime,  gentlemen. 

Your  most  obliged  humble  servant, 

^'A.  K. 

P.S. — I  thank  ye  kindly  for  the  letter  ye 
was  so  kind  as  to  forward  to  my  friend  at 
Brussels,  it  is  sufficient  to  me  to  know  that 
it  reached  your  hands.'' 


CHAPTER  XII. 


LAST  YEARS. 

The  beginning  of  the  year  1797  was  heralded 
by  a  disappointment.  Goethe,  who  had  held 
out  hopes  of  visiting  Rome  once  more,  now 
definitely  gave  up  the  idea,  the  state  of 
the  Continent  being  such  that  it  was  im- 
possible for  him  to  cross  the  Alps.  Perhaps 
it  was  as  well.  A  friendship  like  theirs, 
once  it  is  dead,  cannot  be  rekindled. 

Weimar,  25  June,  1797. 

The  hope  I  had  entertained,  most  honoured 
friend,  of  seeing  you  in  the  coming  year,  is 
through  this  most  miserable  war  at  an  end, 
as  the  way  to  Rome  is  completely  barred, 
at  least  for  the  present.  Professor  Meyer,^ 
whose  continued  residence  in  Rome  is  the 

^  Heinrich  Meyer,  an  artist  following  the  footsteps  of 
Winckelmann  and  Rafael  Mengs. 


304  Angelica  Kauffmann. 


groundwork  for  me  still  to  cherish  the  hope 
of  revisiting  that  delightful  city,  tells  me  that 
he  has  had  the  honour  of  waiting  upon  you — 
he  has  gone  for  the  moment  to  Florence,  but 
returns  to  Rome  shortly. 

•        •••••  • 

Will  you  pardon  me  a  question  ?  A  friend 
of  mine,  a  most  respectable  tradesman  ^  in 
Leipzig,  has  prepared  a  catalogue  with  in- 
finite care  of  the  engravings  which  have 
been  taken  from  your  paintings.  This  work 
has  occupied  him  many  years,  and  he  is  now 
bringing  it  out.  He  desires  nothing  more 
ardently  than  to  have  a  short  account  pre- 
fixed of  the  life  of  the  artist  (whom  he 
esteems  so  highly  and  about  whose  works 
he  has  been  so  long  occupied).  When  he 
told  me  this  very  natural  desire,  I  re- 
membered that  Herr  Zucchi,  when  he  was 
collecting  information  about  his  own  family, 
had  also  made  a  notice  of  the  life  of  his 
distinguished  wife.  If  you  will  allow  me  to 
have  this  to  communicate  to  my  friend,  you 
will  confer  on  me  a  new  proof  of  your^ friend- 
Probably  Andresen  u.  T.  O.  Weigel,  of  Leipzig. 


Last  Years. 


305 


ship,  and  you  will  likewise  rejoice  the  hearts 
of  your  many  adorers. 

Not  many  days  ago  your  excellent  picture 
of  Cupid  and  Psyche,"  ^  which  I  saw  in 
Dessau,  gave  me  the  most  exquisite  pleasure. 
You  cannot  conceive  the  impression  these 
heavenly  creatures  make,  when  seen  amidst 
the  snowflakes  of  the  icy  north,  which  are 
only  suited  to  a  wild  beast  or  a  dull  hunts- 
man.^ 

Farewell,  and  kindly  answer  either  your- 
self or  through  others. 

Goethe."^ 

1798  and  1799  were  naturally  not  very 
fruitful  in  work,  the  times  being  too  dis- 

1  This  is  the  Cupid  Drying  Psyche's  Tears,"  to  which 
Sternberg  gives  such  praise. 

2  "  It  is  not  necessary  to  remind  you  that  these  words 
do  not  apply  to  the  Dessau  country.  The  Luiseum  in 
which  the  painting  is  kept  is  for  the  rest  in  a  garden. 
Such  a  background  cannot  impair  its  beauty." — Extract 
from  Professor  von  Gebhardfs  letter  to  the  cofnpiler. 

So  far  as  is  known  this  is  the  last  of  the  Goethe 
correspondence.  Two  significant  circumstances  are 
worth  noticing  in  this  matter  :  one  that  Rossi  makes 
no  mention  of  the  Goethe  friendship ;  the  other,  that 
in  her  will  Angelica  is  equally  reticent,  leaving  no  token 
to  her  once  dear  friend. 


X 


3o6  Angelica  Kauffmann, 


turbed  for  any  settled  employment.  Already 
foreign  troops  were  filling  the  city,  and  rough 
soldiers  were  billeted  in  every  household. 
The  idea  of  such  guests  being  introduced 
into  her  quiet  home  was  in  itself  a  tor- 
ture to  a  mind  like  Angelica's.  She  had, 
however,  friends  in  high  quarters  ready  to 
interest  themselves  for  her,  and  the  leader 
of  the  French  army.  General  Espinasse, 
showed  himself  in  every  way  desirous  of 
paying  honour  to  so  distinguished  a  woman. 
He  gave  a  written  order,  by  which  she  was 
exempt  from  all  such  visitors  or  imposts. 
In  return  for  this  act  of  courtesy,  Angelica 
presented  the  General  with  his  portrait. 
She  also  painted  another  distinguished 
officer  of  the  French  army,  taking  care  to 
place  him  standing  amidst  some  old  ruins, 
as  a  reminder  of  the  antiquity  of  Rome. 

Being  left  undisturbed  in  her  studio, 
Angelica  occupied  herself  unceasingly  ;  not 
that  large  orders  came  to  her.  Still  she 
had  a  multiplicity  of  smaller  commissions. 
Amongst  these  w^as  Ariadne  holding  the 
Thread  of  the  Labyrinth  to  Theseus  ; a 


Last  Years. 


307 


subject  she  treated  very  gracefully.  For  the 
Countess  of  Solms  she  painted  a  charming 
subject  taken  from  Ossian.^' 

In  consequence  of  her  necessities  ^  she  was 
obliged  (and  to  a  spirit  like  hers  this  must 
have  been  her  hardest  trial)  to  have  recourse 
to  her  friends  for  pecuniary  assistance. 
From'  a  letter  written  at  this  period  to  her 
kind  patron,  Mr.  Forbes,  we  find  her  asking 
for  advances  on  the  unfinished  picture  of 
Religion." 

October,  1799. 

"  All  these  circumstances,  my  much- 
honoured  and  respected  friend,  to  which  a 
total  suspension  in  the  art  I  profess,  must  be 
added,  induce  me  to  a  boldness  unusual  to 
me. 

''When  you  honoured  me  with  your 
commands  respecting  the  picture  of 
'  Religion,'  you  generously  offered  me  half 

^  Writing  to  a  friend,  she  says : — I  have  suffered 
nothing  in  my  person,  but  there  was  no  want  of  dis- 
tresses of  all  kinds  and  the  prospect  is  gloomy  beyond 
expression  :  the  losses  I  have  sustained  are  considerable 
and  at  a  time  of  life  when  I  hoped  to  enjoy  comfort  and 
ease." 

X  2 


3o8  Angelica  Kauffmann. 

its  amount,  which  I  then  declined,  and  told 
you    how    much    I    wished    my  situation 
was  such  that  it  might  only  be  given  and 
received  as  a  pledge  of  my   esteem  and 
friendship,  and    that  no   money  might  be 
mentioned  ;  nor  do  I  forget  your  kind  reply ; 
but  I  could  not  bring  myself  to  accept  it, 
having  at  that  time  several  commissions  for 
pictures  from  Germany,  but  the  unfortunate 
war  in  which   that  country  has   also  been 
overwhelmed,  has  occasioned  a  suspension  of 
these  orders,  and  I  have  therefore  given  all 
my  time  and  attention  to  your  picture,  and  I 
flatter  myself,  have,   by  frequent  renewed 
touches,  brought  it  to  a  greater  perfection 
than  I  once  thought  of :  indeed,  I  have  the 
satisfaction  to  hear  it  approved  by  all  who 
see  it,  and  that  even  the  French  generals 
have  bowed  before  '  Religion.'    Oh  !  how  I 
do  long  for  peace,  that  I  may  send  ^  you  your 

^  Religion,"  with  five  others,  reached  Mr.  Forbes  in 
1802.    See  catalogue. 

From  the  engraving  by  Burke  one  can  see  how 
crowded  the  canvas  is  with  figures.  "  Religion,"  a  hard- 
featured  woman,  seated  on  a  throne,  is  surrounded  by 
her  attendant  maidens.  Faith,  Hope^  and  Charity.  They 
have  all  Greek  profiles.  Hope  has  her  anchor,  Faith 
has   her  arms  crossed  on  her  breast,  while  Charity 


Last  Years. 


309 


picture,  and  when  you  see  it,  I  flatter  myself 
it  will  give  you  satisfaction.  I  was  delighted 
with  the  subject,  and  most  sincerely  respect 
the  friend  who  honoured  me  with  the  com- 
mission. 

Angelica  Kauffmann." 

At  one  moment  a  gleam  of  hope  promising 
peace  came  to  the  harassed  minds  of  those 
living  in  the  shadow  of  those  troublous  days. 

During  this  pause  a  few  strangers  came 
once  more  to  Rome  ;  bold  travellers,  who 
ventured  to  cross  the  Alps  for  a  sight  of  the 
great  city  beyond. 

Amongst  these  was  Lord  Montgomery  and 
his  friend  Colonel  Macdonald.  Both  of  these 
were  painted  by  Angelica  in  their  national 
costume. 

For  some  time  Angelica  had  been  revolv- 

sprawls  on  the  ground,  embracing  a  small  family  of  naked 
children. 

*'The  inspiration,"  says  Miss  Thackeray,  in  "Miss 
Angel,"  is  something  like  the  apotheosis  of  Madame 
Tussaud,  and  yet  a  certain  harmony  redeems  it." 

Waagen  says  it  displays  warm  colouring  and  careful 
execution. 

After  Mr.  Forbes's  death  the  picture  was  presented  by 
his  widow  to  the  National  Gallery.  Up  to  1870  it 
hung  on  the  walls  of  that  institution,  but  it  is  now  in  the 
cellars ! 


310  Angelica  Kauffmann, 


ing  in  her  mind  the  idea  of  presenting  her 
native  canton  with  a  picture  by  her  own 
hand.  In  1800  she  fulfilled  this  cherished 
scheme,  and  executed  for  the  parish  church 
of  Schwartzenberg^  a  large  canvas  of  the 
Blessed  Virgin  crownedby  theThree  Persons 
of  the  Blessed  Trinity."  She  was  so  much 
impressed  by  the  magnitude  of  the  concep- 
tion, and  the  difficulty,  above  all,  of  portray- 
ing the  Almighty,  that  she  often  wished  she 
could  throw  a  veil  over  the  head  and  so  conceal 
the  features. 

This  year,  too,  she  painted  that  very 
charming  picture,  ''Omnia  Vanitas'':  a 
young  girl,  tired  with  gathering  flowers, 
sits  down  to  rest  upon  a  newly-made  monu- 
ment, upon  which  is  this  inscription  : — 

''All  is  vanity." 

The  maiden  drops  her  flowers,  which  lie 

scattered  around.    Also  "  Coriolanus  in  the 

midst  of  his  Family    was  begun  this  year. 

It  was  during  the  completion  of  this  work 

that  she  was  attacked  by  a  severe  illness.  It 

^  Schwartenzberg  was  her  father's  native  canton ;  it 
must  be  supposed  she  considered  it  the  home  of  her 
kinsfolk. 


Last  Years. 


was  of  a  pulmonary  nature,  and  although  she 
recovered  from  it,  her  lungs  and  breathing 
were  seriously  affected.  Work  for  a  time 
was  forbidden  by  her  doctors,  who  strongly 
recommended  a  complete  change  of  air  and 
manner  of  life.  Although  it  was  a  hard 
struggle,  Angelica  followed  this  advice,  and 
tore  herself  away  from  her  beloved  easel  and 
a  circle  of  devoted  friends.  Accompanied 
by  Johann  Kauffmann,  her  cousin,  she  left 
Rome  in  July,  1800,  and  went  to  Florence, 
from  whence  she  undertook  a  still  longer 
journfy  to  Bologna  and  Milan. 

It  was  now  nearly  twenty  years  since  she 
had  left  Rome  for  more  than  a  few  weeks. 
The  change  was  most  beneficial  to  her,  re- 
newing her  youth  and  strengthening  her 
body.  Everywhere  she  was  treated  with 
the  greatest  distinction,  the  highest  person- 
ages vieing  with  one  another  in  doing  her 
honour.  From  Milan  she  went  to  Como. 
Here  Johann  Kauffmann  left  her,  going  to 
pay  a  short  visit  to  his  relations  in  the 
Bregenz.  Angelica  had  not  been  in  Como 
since  her  childhood,  when  she  had  painted 
the  Cardinal  Bishop  Nevroni. 


3 1 2  Angelica  Kauffmann. 


Writing  now  in  the  sere  and  yellow  leaf  of 
her  old  age,  she  says  : — 

''You  ask  me  why  I  care  for  Como.  It 
was  here  that  in  my  childish  days  I  ex- 
perienced the  first  joys  of  life ;  there  I  saw 
for  the  first  time  magnificent  palaces,  villas, 
and  a  splendid  theatre.  It  was  like  paradise 
to  me.  There,  too,  I  saw  Love  pointing  his 
arrows  at  me,  but  in  my  innocence  and  un- 
consciousness I  turned  aside  and  evaded  the 
dart." 

This  passage  would  appear  to  hint  at  some 
youthful  attachment.  Oppermann,  however, 
says  this  is  an  error,  and  it  would  seem  mani- 
festly one,  as  the  young  heroine  was  barely 
fourteen.  Nevertheless,  in  the  same  letter 
from  which  I  have  just  quoted,  she  goes  on : 
*'  Many  years  after,  I  was  led  by  Fate  back 
to  this  charming  spot.  I  enjoyed  to  the 
fullest  the  pleasures  of  my  ripened  years.  I 
enjoyed  the  society  of  friends  ;  I  breathed 
again  the  breezes  of  the  immortal  lake. 

''  One  day,  wandering  with  some  chosen 
companions  through  the  delightful  woods 
belonging  to  a  friend's  villa,  in  a  shady  spot 
I  came  once  more  upon   Love.    He  was 


Last  Years. 


313 


asleep  ;  I  drew  near  to  him ;  he  awoke  and 
smiled  in  a  friendly  manner  at  me.  He  re- 
cognized me — albeit  time  had  silvered  my 
golden  hair. 

Suddenly  he  rose,  mischievously  de- 
termined to  revenge  the  slight  he  had  re- 
ceived from  me  in  my  early  years.  He 
pursued  me,  and,  taking  deliberate  aim, 
threw  his  arrow  at  me  ;  I  had  all  the  trouble 
in  the  world  to  escape  the  dart." 

It  is  not  quite  easy  to  understand  this  allu- 
sion, and  Rossi  makes  no  effort  at  explaining 
it.  Ill-natured  people  did  talk  of  an  attach- 
ment between  her  and  her  cousin  Johann  ;  but 
he  was  at  Bregenz  during  her  stay  at  Como. 

From  Como  Angelica  made  her  way  to 
Venice,  where  she  wished  once  more  to  see 
her  husband's  relations,  whose  kindness  to 
her  at  the  time  of  her  father's  death  she  had 
never  forgotten.  She  had  in  particular  a 
great  esteem  for  her  brother-in-law  Joseph, 
who  had  collected  art  mementoes  of  her  life. 
After  twelve  days'  stay  in  Venice,  she  re- 
turned to  Florence  by  Padua  and  Bologna, 
thence  to  Perugia,  where  she  was  the 
honoured  guest  of  Cardinal  Cesari,  and  on 


314  Angelica  Kauffmann. 


the  30th  of  October  was  once  more  in 
Rome. 

Her  friends  made  a  festival  of  her  arrival, 
giving  parties  in  her  honour  ;  and  the  pleasure 
of  being  so  welcome  was  very  dear  to 
Angelica's  heart.  At  this  moment  of  her  life 
she  seems  to  have  been  really  happy.  From 
Schwartzenberg,  where  her  coronation  picture 
had  arrived,  she  received  an  account  of  the 
reception  given  to  her  present.  Such  crowds 
had  come  from  all  parts  to  see  it,  that  the 
pastor  had  erected  a  temple  for  it  outside  the 
church,  where  the  multitude  could  behold  it. 

HeVe  is  a  letter  which  is  full  of  that  kind- 
ness of  heart  which  was  one  of  Angelica's  dis- 
tinguishing characteristics.  It  is  written  to 
her  cousin  Casimir's  son,  to  whom  she  left 
her  sketches  and  drawings  later,  together 
with  some  of  her  letters.^ 

Rome,  29,  1 801. 

Much  Beloved  Cousin, — I  thank  you 
from  my  heart  for  your  letter,  which  I 
received  with  pleasure  ;  your  good  conduct 

^  These  were  nearly  all  sold  in  London. 


Last  Years, 


315 


and  diligence  in  your  trade  has  at  all  times 
given  me  joy.  I  hope  that  you  will  always 
continue  striving  to  turn  to  account  the  years 
of  your  youth,  applying  yourself  perse- 
veringly  to  all  matters  connected  with  your 
business,  and  that  you  will  specially  seek  to 
fulfil,  to  the  best  of  your  power,  your  duty 
towards  God,  from  whom  we  derive  our 
being  and  from  whom  we  receive  everything  ; 
as  also  your  duty  towards  your  parents.  He 
who  turns  to  good  account  the  years  of  his 
youth,  will,  in  his  old  age,  enjoy  Its  fruits. 
The  present  times  are  unhappily  very 
dangerous  for  those  who  have  little  experi- 
ence ;  one  must  commend  oneself  to  God 
and  seek  association  with  good  and  pious 
men,  and  avoid  idleness  as  much  as  possible 
by  the  reading  of  good  books,  such  as  serve 
to  educate  the  heart  and  intellect,  and  teach 
scientifically ;  and  in  this  matter  the  advice 
of  a  righteous  man  is  very  necessary,  for 
how  many  have  been  deluded  by  the  writings 
of  the  philosophers  of  our  day.  I  do  not 
doubt  that  you  will  strive  to  attain  perfection 
in  your  trade  as  much  as  possible. 


3 16  Angelica  Kattffmann. 


Cousin  Johann  will    add    some  lines. 
Herewith  I  conclude  with  the  assurance  that 
I  shall  at  all  times  take  the  greatest  interest 
in  your  welfare.    God  give  you  his  blessing. 
I  remain,  your  devoted  cousin, 

''Angelica  Kauffmann. 

P.S. — From  a  letter  of  your  good  father, 
Cousin  Casimir,  which  I  have  recently 
received,  I  learn  that  he  is  convalescent,  at 
which  I  heartily  rejoice." 

Immediately  on  her  return,  Angelica  had 
resumed  her  beloved  art,  and  with  intense 
joy  found  that  the  cunning  of  her  hand  had 
not  deserted  her.  She  finished  '^Coriolanus," 
which  had  been  interrupted  by  her  illness, 
and  soon  sitters  began  to  crowd  into  her 
studio  as  of  old.  At  this  moment  the  devout 
King  of  Sardinia,  Charles  Emmanuel,  and  his 
excellent  consort  happened  to  be  in  Rome. 
The  queen,  hearing  of  Angelica  s  talent  and 
devotion,  asked  to  be  allowed  to  visit  her 
studio,  an  honour  which  much  gratified  the 
artist.  In  this  year,  too,  she  made  the  ac- 
quaintance of  Canova,  who  executed  from  her 
designs  some  exquisite    Cupids  "  in  bas  relief. 


Last  Years. 


3»7 


These  peaceful  days  were,  however,  to  be 
again  interrupted.  The  eighteenth  century 
had  run  its  course,  and  the  nineteenth  was 
ushered  in  with  a  fresh  outburst  of  war.  A 
new  conqueror  had  arisen.  Already  the  cannon 
of  Toulon  had  filled  the  astonished  world  with 
Napoleon's  name.  Victory  followed  victory. 
Trumpets  blew,  drums  beat,  standards  waved 
over  battle-fields.  Armies  of  soldiers  filled 
the  streets  and  market-places  of  every  town 
on  the  Continent  of  Europe.  The  Alps  were 
echoing  with  the  cry  of  battle  ;  a  thousand 
voices  took  up  the  cry  along  the  Italian  frontier. 
In  Rome,  all  was  in  confusion  ;  Canova  fled, 
taking  with  him  the  three  ''Naked  Sisters,"  the 
little  frozen    Cupids,"  and  his  poor  wounded 

Psyche,"  all  his  dear  children,  his  entire 
marble  family.  Statues  were  wandering  in 
every  direction,  paintings  and  frescoes 
changing  places.  The  Venus  de  Medici  " 
travelled  to  Paris,  and  greeted,  with  a  curve 
of  her  lovely  Grecian  mouth,  the  Alexander 
of  the  nineteenth  century. 

Poor  Angelica!  this  new  outbreak  shat- 
tered her  already  weakened  nerves.  Again 
was  her  income  diminished,  her  credit  in 


3i8  Angelica  Katiffmann. 


England  interrupted.  It  was  a  cruel  blow 
in  her  feeble  condition  and  advancing  years. 
Still  she  struggled  bravely  on.  Despite 
harassing  care  and  ill-health  she  worked 
through  1803,  1804,  ^i^d  even  1805,  when 
her  health  mended  and  she  was  back  at  her 
easel.  Her  spirits  revived,  her  strength 
returned,  as  is  shown  in  the  following 
letter : — 

Albano,  20th  Sept.,  1806.^ 

Much  Respected  Friend, — Before  this 
reaches  you  Mr.  Bonomi,  to  whom  I  wrote 
this  month,  I  hope,  according  to  my  request, 
has  informed  you  that  I  have  in  due  time 
received  your  obliging  favour. 

I  find  myself  in  this  delightful  place  since 
August  20th  last.  This  change  of  air  was 
necessary  for  the  better  restoration  of  my 
health,  which  has  suffered  so  much  by  the 
long,  lasting  rheumatic  pains  suffered  in  my 
breast,  but  now,  thank  God,  the  air  has  been 
so  beneficial  to  me  that  all  my  complaints 
are  vanished  and  my  spirits  recovered. 

1  This  may  have  been  addressed  to  Mr.  Bowles  of 
Wanstead. 


Last  Years. 


3^9 


I  hope  this  will  find  you  and  all  those 
dear  to  you  in  good  health.  Remember  me 
to  them  most  affectionately.  All  hopes  of 
peace  are,  I  fear,  vanished.  I  am  sorry  for 
it,  for  many  reasons.  The  picture  was  and 
is  ready  for  exportation.  I  shall  remain  in 
this  place  all  this  month,  if  the  weather 
continues  good,  and  perhaps  part  of  the 
next.  The  situation  is  beautiful,  but  we  are 
now  and  then  visited  with  some  shocks  of  an 
earthquake,  which  have  done  considerable 
damage  in  most  of  the  neighbouring  places. 
Here  they  were  not  very  sensible,  thank 
God  !  I  should  have  been  much  alarmed. 

Pardon  me  for  being  thus  tedious  to  you 
before  I  conclude,  repeating  my  sincerest, 
kindest,  warmest  thanks  to  you  for  all  your 
kindness,  for  all  the  attention  you  have  for 
me,  which  I  do  not  know  how  to  deserve,  nor 
have  I  words  to  express  the  sincere  attach- 
ment with  which  I  am,  and  shall  be  as  long 
as  I  exist. 

Yours  truly  obliged  humble  servant 
and  affectionate  friend, 

''Angelica  Kauffmann." 


320  Angelica  Kattffmann. 


But  soon  again  she  was  beaten  down  by 
fresh  attacks. 

Sternberg,  with  his  usual  ill- nature,  declares 
that  she  was  surrounded  by  interested  friends, 
dependents  and  flatterers,  and  that  these  care- 
fully kept  from  her  that  her  artistic  power 
was  gone. 

Old  age/^  he  continues,  requires  to  be 
caressed,  especially  aged  painters  and  poets  ; 
therefore,  in  consideration  of  Angelica  s  con- 
dition, these  friends  thought  it  only  kind  to 
deceive  the  failing  artist  with  imaginary 
orders.  Some  of  them  were  supposed  to 
come  from  France  and  England.  This  pious 
fraud  was  most  successful.  Angelica,  lying 
on  her  sick  bed,  would  seize  her  brush,  and, 
with  a  joyous  smile  upon  her  pale  lips,  com- 
plain of  this  rush  of  commissions." 

Is  there  no  other  painter  ?  she  would 
ask  ;  and  the  chorus  of  friends  would  answer, 

No,  there  is  none  to  equal  you.  If  you 
die,  art  is  indeed  an  orphan." 

This  is  amusingly  told,  but  on  turning  to 
Rossi  we  find,  like  many  smart  things,  it  has 
no  grain  of  truth.    He  distinctly  says,  From 


\  Last  Years. 


the  year  1803  Angelica  neither  received 
nor  would  undertake  any  large  order,  but 
she  finished  some  portraits,  and  even  com- 
menced some  fresh  ones,  all  of  strangers  then 
in  Rome  ;  as,  for  instance,  that  of  the  Crown 
Prince  of  Bavaria,  also  that  of  Count  Pappa- 
sava." 

She  was  so  charmed  with  the  beauty  of 
the  little  daughter  of  the  Duke  and  Duchess 
of  Miranda,  that  she  painted  the  child  for 
the  parents  who  were  friends  of  hers.  It  is 
a  lovely  picture,  something  in  the  style  of 
Sir  Joshua  Reynolds.  The  last  work  un- 
dertaken by  her  was'  a  charming  Magda- 
lene "  for  Count  Pezzoli  of  Bergamo,  which 
was  engraved  on  copper  by  Folo.  Consider- 
ing the  extreme  weakness  of  her  health  and 
her  reduced  condition,  this  is  a  wonderful 
piece  of  work,  the  same  lightness  of  touch 
and  brilliancy  of  colouring  which  was  her 
attraction  in  her  youthful  days. 

An  excursion  made  into  the  country  about 
this  time  seems  to  have  benefited  her.  She 
writes  in  her  old  charming-  style  to  a  friend 
in  England,  probably  Mr.  Forbes  : — 

Y 


32  2  Angelica  Kauffmanii. 

My  kindest  and  warmest  thanks  have 
this  time  been  longer  delayed  on  account  of 
a  little  excursion  made  into  the  country.  I 
passed  near  three  weeks  at  Tivoli,  about 
twenty  miles  from  Rome,  a  charming  place, 
so  much  sung  and  praised  by  Horace,  where 
he  had  his  villa,  of  which,  however,  little  or 
nothing  remains.  More  is  yet  to  be  seen  of 
the  villa  of  Maecenas  and  the  villa  Adriana 
and  some  others,  but  destructive  Time  has 
reduced  all  to  the  pleasure  of  imagination — 
perhaps  a  melancholy  pleasure,  to  see  only 
poor  remains  of  the  greatest  magnificence. 
Oh  !  that  you,  my  friend,  could  see  this  place, 
or  that  I  could  once  more  have  the  happiness 
to  see  you  in  dear  England,  to  which  my 
heart  is  so  much  attached,  and  where  I 
should  once  more  see  you,  my  worthy  friend, 
with  the  greatest  joy.  Too  happy  should  I 
think  myself  to  be  the  bearer  of  the  picture 
I  had  the  pleasure  of  executing  for  you.  In 
peaceable  times  it  would  not,  perhaps,  have 
been  amongst  the  impossible  things ;  could 
I,  however,  find  in  the  meantime  a  safe 
opportunity  of  getting  it  conveyed  to  you,  I 


Last  Years. 


323 


shall  certainly  not  lose  it,  as  I  long  you 
should  have  at  least  this  token  of  my  grati- 
tude for  the  many  and  numberless  obliga- 
tions for  all  the  favours  you  continue  to 
bestow  on  me.  It  makes  me  very  happy 
that  you  and  all  your  family  are  well.  Be  so 
kind  as  to  remember  me  to  them  in  the  most 
respectful  manner. 

I  beg  for  the  continuance  of  your  friend- 
ship, and  have  the  honour  to  be  with  the 
greatest  esteem  and  gratitude, 

Your  most  obliged  humble  servant 
and  friend, 

''Angelica  Kauffmann." 

The  year  1807  showed  a  great  diminution 
of  strength.  The  author  of'  A  Dead  Man's 
Diary,"  who  was  in  Rome  that  year,  mentions 
seeing  her  drive  along  the  Corso,  and  being  in- 
troduced to  her.  Although  aged  and  ill,  she 
was  full  of  charm.    She  was  called,  he  says, 

The  Mother  of  the  Arts."  Soon,  however, 
the  malady  gaining  on  her,  she  was  unable  to 
leave  her  bed.  The  deepest  melancholy  took 
possession  of  her,  in  spite  of  her  efforts  to 

\'  2 


324  Angelica  Kauff^nann. 


appear  cheerful,  by  which  amongst  her  friends 
she  succeeded  in  gaining  some  appearance  of 
gaiety.  She  would  make  them  play  games/ 
and  evinced  the  greatest  interest  in  all  their 
pursuits.  Still  it  was  evident  how  much  this 
struggle  cost  her.  In  these  last  days  she 
occupied  herself  in  going  through  her  papers, 
and  burning  those  she  did  not  wish  should 
fall  into  strange  hands.  When  this  was 
done,  she  arranged  all  her  affairs,  and  made 
presents  to  many  of  those  who  visited  her, 
and  were  kind  to  her. 

By  the  end  of  the  summer  her  weakness 
had  increased  so  much,  that  she  could  not 
leave  her  bed.  Her  face  was  like  that  of  a 
corpse  ;  her  eyes  alone  retained  something  of 
their  former  brightness.  Her  friends  were 
devoted  to  her,  and  to  humour  her  fancy  not 
to  be  left  alone,  her  visitors  would  come 
for  the  day,  and  carry  on  their  occupations 
in  an  adjoining  room.  One  at  a  time  would 
sit  with  her,  and  she  had  always  something 
kind  to  say,  an  expression  of  gratitude  or 

^  M.  Seroux  d'Agincourt  lived  near  to  her,  and 
visited  her  constantly  in  her  last  illness. 


Last  Years, 


3^5 


affection  on  her  Hps.  In  October,  her  ill- 
ness taking  a  most  serious  turn,  there  was  no 
longer  a  shade  of  hope.  She  received  the 
last  Sacraments,  and  from  that  time  took 
farewell  of  the  world,  her  only  consolation 
being  the  visits  of  her  spiritual  adviser. 
Some  of  her  friends,  fearing  that  the  minis- 
trations of  this  priest,  Avho  was  rather 
of  the  rough-and-ready  order,  were  not 
suited  to  a  person  in  her  weak  condition, 
tried  to  induce  her  to  have  one  of  the  monks 
whose  especial  office  it  was  to  attend  the 
dying.  No,^'  said  the  sick  woman,  my 
good  pastor  would  be  hurt  if  I  sent  for 
another,  and  it  would  be  a  bad  return  for  his 
goodness  to  me." 

On  the  5th  November,  her  cousin  Johann  ^ 
was  sitting  by  her  be.dside.  She  asked  him  to 
read  her  one  of  Gellert's  Hymns  for  the 
Sick."  By  some  mistake  he  began  one  of  the 
hymns  for  the  dying,  but  this  choice  did 
not  please  her ;  either  she  preferred  the 
other,  which  breathed  a  more  Christian 
spirit,  or  a  spark  of  hope  still  lingered  in 
^  Anton  Johann  Kauffmann. 


326  Angelica  Kauffmann. 


her  breast.  She  interrupted  him  quickly  : 
No,  Johann,"  she  said,  I  will  not  hear  that. 
Read  me  the  '  Hymn  for  the  Sick/  on  page 
128.'*  Her  cousin  sought  the  place,  found 
the  desired  hymn,  and  began  to  read.  But 
after  a  few  moments  he  found  that  Angelica 
had  passed  peacefully  away,  without  a 
sigh  or  pain.  She  was  sixty-six  years  of 
age. 

There  was  general  mourning  in  Rome 
when  the  news  was  known,  and  the  desire  to 
do  honour  to  the  artist  who  had  passed 
from  amongst  them  was  universally  felt  by 
all.  A  funeral  service  was  organized,  con- 
ducted in  the  manner  by  which  in  the  golden 
days  Rome  delighted  to  glorify  art.  The 
architect,  Uggieri  ;  the  sculptor,  Albaggini, 
and  her  cousin  Johann  undertook  the  ar- 
rangements, which  were  of  a  most  splendid 
character.  It  took  place  on  November  7th, 
in  the  Church  of  Sant'  Andrea  delle  Fratte. 
Canova  received  the  invited  guests,  who 
were  of  the  highest  rank.  The  Brothers  of 
St.  Luke,  and  the  virtuosi  of  the  Academies 
of  Science  and  Art,  walked  in  the  procession, 


Last  Years.  327 

which  was  swelled  by  every  one  of  rank  and 
distinction  then  in  Rome.  Canova  and 
Pazetti  (directors  of  the  French  and  Portu- 
guese Academies),  Le  Thiere  and  Le  Rossi 
carried  the  coffin. 

In  the  church  the  scene  was  most  impos- 
ing. Two  of  her  pictures,  religious  in 
subject,  were  placed  on  each  side  of  the 
altar,  and,  in  the  centre,  her  bust  in  Carrara 
marble,  the  work  of  Canova,  only  finished 
a  month  before  her  death.  Her  body,  by  her 
own  especial  desire,  was  laid  next  to  that  of 
her  husband  in  the  smaller  chapel.  Over 
the  grave,  Johann  Kauffmann  and  her  heirs 
erected  a  handsome  monument  with  the 
following  inscriptions  : — 

Antonius.   Petrus.    Franc,   f.  Zucchius. 
Venetus.  in.  Deum.  Amore.  in.  Pauperes. 
Picturae.  Laude.  concelebratus. 
H.  S.  E. 

Vix.  A.  69.  M.  7.  D.  26.  ob.  VII.  Kal.  Jan. 
ab.  orbe.  servato.  1795. 
Angelica.  Kauffmann. 
Lachrymis.  et.  tristitiae.  damnata.  Marito. 
dulcissimo.  et.  benignissimo. 
contra,    votum.  pofuit. 


328 


Angelica  Katcff7nann. 


H.  S.  E. 

Angelica.  Joannis.  Josephi.  f.  Kauffmann. 
Domo.  Schwarzenbergio. 
Cui.    summa.    Picturae.  Laus. 
Cenotaphium.   in.  Aede.  Panthei.  pro- 
meruit.  sed.  ipsa.  se.  in.  hoc.  Monumen- 
to.    quod.   Antonio.  Zucchio.  posuerat. 
inferri.  jussit. 
ut.  cum.  Viro.  concordissimo. 
post,  funus.  etiam.  habitaret. 
Annos.  nata.  66.  dies.  6. 
obiit.  Romae.  Non.  Nov.  1807. 
Ave.  Mulier.  optima,  et.  vale.  in.  pace. 

A  year  later,  her  bust,  executed  by  Peter 
Kauffmann,  was  placed  with  all  ceremonial 
and  honour  in  the  Pantheon. 

Nothing  could  prove  more  distinctly  the 
sweetness  of  her  disposition,  and  the 
generosity  of  her  mind,  than  the  provisions 
of  her  will,  which  were  of  the  most  just 
character.  No  one  was  forgotten;  her 
servants  were  well  remembered ;  ^  so  were 
the  poor. 

To  her  cousin,  Rosa  Bonomi,  wife  to  the 

^  To  her  maid,  Maria  Pericoli,  who  had  served  her 
thirteen  years,  she  left  one  thousand  silver  thalers,  the 
bedstead  she  used,  and  all  belonging  to  it,  as  also  her 
entire  wardrobe. 


Last  Years, 


329 


architect,  then  h'ving  in  London,  and  with 
whom  she  had  kept  up  constant  relations, 
she  bequeathed  all  her  money  standing  in  the 
English  funds,  amounting  to  five  thousand 
pounds,  besides  the  best  of  her  jewels  and 
plate. ^  Her  remaining  capital  of  three  thou- 
sand pounds  she  devised  to  her  cousins 
Johann  and  Casimir  Kauffmann,  who  were 
with  her  at  the  time  of  her  death,  together 
with  her  pictures,  furniture,  etc.  To  her 
relations  in  Schwartzenberg  she  left  seven 
hundred  pounds.  To  her  husband's  family- 
she  bequeathed,  with  many  kind  words, 
several  remembrances,  together  with  all 
Antonio's  plate,  pictures,  and  everything 
which  had  come  to  her  through  him.  All 
that  was  left  in  her  studio  of  unfinished 
pictures,  etc.,   she  desired  might  be  sold, 

^  The  jewels  consisted  of  some  fine  pearls,  seven  rows 
for  bracelets,  the  clasps  being  miniatures  set  in  brilliants 
of  her  father  and  husband  ;  a  diamond  ornament  for 
the  head  ;  and  earrings  of  fine  brilliants,  clasps  of  dia- 
monds ;  a  necklet  of  fine  brilliants ;  two  emerald  and 
diamond  rings.  Also  a  tea  service  of  silver  and  silver  tea- 
chest  with  a  Chinese  man  on  the  lid." — From  the  Will. 


330  Angelica  Kauffmann. 

and  the  proceeds  distributed  amongst  the 
poor. 

As  she  lived,  so  she  died ;  even  her 
enemy  Sternberg  calls  her  a  sweet  creature 
— her  very  faults  were  lovable — and  she, 
was  above  all.  most  womanly.^' 

Letter  from  Signor  Joseph  Bonomi^  to  George 
Bowles,  Esq.,  of  Wanstead  Manor, 

Dear  Sir, — This  morning  I  received  a 
letter  from  my  correspondent  in  Rome,  Dr. 
M.  A.  Borsi,  concerning  the  death  of  Mrs. 
Angelica  Kauffmann,  which  I  shall  transcribe 
word  for  word. 

^  Dear  Sir, — What  I  foresaw  for  some 
time,  after  twenty  days'  confinement  to  bed, 
with  the  greatest  tranquillity  of  spirit,  always 
present  to  herself,  having  twice  received  the 
blessed  Sacrament,  and  two  days  before 
Extreme  Unction,  perfectly  resigned,  coura- 
geously met  the  death  of  the  just  Thursday 
last,  5th  instant,  at  half-past  two,  the  great 
woman,  the  always  illustrious,  holy,  and 
most  pious  Mrs.  Angelica  Kauffmann. 

'  The  original  spelling  and  construction  are  preserved. 


Last  Years. 


331 


*  I  shudder  in  acquainting  you  with  such 
unfortunate  news,  knowing  the  grief  it  will 
cause  to  you  and  Mrs.  Bonomi.  I  shall  now 
relate  the  particulars  of  her  illness  and 
funeral.  During  her  severe  illness,  her 
numerous  friends  did  what  they  could  to 
restore  her,  and  everyone  was  grieved  in 
apprehension  of  losing  her.  You  may  easily 
believe,  more  than  I  can  express,  how  much 
their  grief  increased  at  her  death.  I  only, 
therefore,  shall  mention  that  they  vied  with 
each  other  in  endeavouring  to  perform  the 
last  duties  in  the  most  decorous  obsequies 
celebrated  this  morning  in  the  Church  of  S. 
Andrea  delle  Fratte,  conducted  by  Canova 
and  other  virtuosi  friends.  The  church  was 
decorated  as  is  customary  for  nobles.  At 
ten  o'clock  in  the  morning  the  corpse  was 
accompanied  to  the  church  by  two  very 
numerous  brotherhoods,  fifty  capuchins  and 
fifty  priests.  The  bier  was  carried  by  some 
of  the  brotherhood,  but  the  four  corners  of 
the  pall  by  four  young  ladies  properly 
dressed  for  the  occasion.  The  four  tassels 
were  held  by  four  first  Gentlemen  of  the 
Academy  ;  these  were  followed  by  the  rest 


332 


Angelica  Kauffmann. 


of  the  academicians,  and  virtuosi,  who 
carried  in  triumph  two  of  her  pictures,  and 
everyone  had  wax  tapers  lighted/ 

This  is  the  melancholy  account  I  thought 
it  my  duty  to  transmit  to  you  as  one  of  her 
most  intimate  friends.  I  shall  take  the  first 
opportunity  of  communicating  to  you  any 
further  intelHgence  I  may  receive  on  the 
subject. 

I  have  the  honour  to  be. 
Dear  sir, 
*^  Your  obedient,  humble  servant, 

Joseph  Bonoml'^ 

1808. 

At  the  general  assembly  of  Academicians, 
the  President  announced  the  demise  of  a 
celebrated  member  of  the  body,  Mrs.  Ange- 
lica Kauffmann.  Her  name  was  then  taken 
off  the  roll  of  the  Academy.'* 

Extract  of  a  letter  from  Johann  Kauffmann, 
dated  Rome,  November  I'^th,  1808,  to 
Madame  Bono  mi. 

In  these  days  is  celebrated  in  the  church 
of  the  Rotunda  (Pantheon)  the  anniversary 


Last  Years. 


333 


of  our  Cousin  Angelica,  and  her  bust  will  be 
placed  as  suggested  by  your  late  husband. 
A  memorial  marble  will  also  be  erected  in 
St.  Andrea  delle  Fratte  with  an  inscription. 
A  similar  one,  but  of  greater  expense,  is 
actually  executing  in  her  own  country,  with 
every  function  suitable  to  the  occasion.  Here, 
likewise,  a  magnificent  requiem  has  been 
made  with  about  two  hundred  Holy  Masses 
in  suffrage  of  her  soul,  besides  many  other 
things  performed  in  her  honour,  so  that  since 
the  death  of  Raphael  Urbino  till  now  a 
similar  funeral  has  not  been  made  at  Rome. 

''On  Thursday,  29th  November,  1808,  the 
marble  bust  ^  in  the  Pantheon  was  uncovered. 

1  A  writer  in  the  Athenccum,  13th  March,  1880,  who 
had  visited  Schwartzenberg,  speaks  of  the  bust  set  up  to 
her  honour  in  the  church  : — 

It  is  a  medalHon  bust  of  Itah'an  workmanship  in 
marble.  Below  is  an  inscription  of  which  I  send  you  a 
copy. 

"  The  words  of  the  inscription  are  most  curiously  run 
together,  but,  I  believe,  are  correctly  copied  :  — 

"Deredlenam  V.  Nov.  mdcccvii.  Im  lxvi  jahre  ihres 
alters  in  Rom  Gestorben  Frau  Angelica  Kauffmann  Der 
Ersteninder  Mahlerkunst  der  Grossen  Wohlthaeterinder 
Armen  Und  Kirche  zu  Schwartzenberg,  der  Zierde 
ihres  Vaterland  des  Zum  steten  Andenken  Von  ihren 
Freunden  under  Bendank  vollstgewidmet,  den  xii.  Jun', 

MDCCCIX. 


334  Angelica  Katcffmann. 


On  this  occasion  a  solemn  funeral  service 
was  celebrated,  at  which  the  academicians  of 
St.  Luke  assisted. 


"  Sie  war  als  Mensch  als  Christ 

Als  Kunstler  gross  ane  Erden 
Willst  du  Hie,  und  dort^  dirund 

Andern  nutzlich  Werden  ? 
Wie  sie  Ehre  Ruhm  Reichtum 

Ruh  Vergniigen  haben  ? 
Schaetze  Tugend,  Benlitz  Talent 

Des  Schopfers  gaben." 

Translation, 

To  Angelica  Kauffmann,  who  departed  this  life  in 
Rome  in  the  year  1807,  and  in  the  sixty-sixth  year  of  her 
age. 

She  was  an  ornament  to  her  Fatherland ;  the  first  of 
artists,  a  benefactress  to  the  poor  and  to  the  church 
at  Schwartzenberg.  This  monument  has  been  raised  to 
her  memory  by  her  friends  on  June  xii.,  mdcccix. 

She  was  great  as  a  woman,  a  Christian,  an  artist. 

Would'st  thou  thyself  and  others  serve, 

Would'st  thou  Honour,  Fame,  and  Peace  deserve, 

Then  must  thou  Virtue  prize, 
And  use  the  talents  God  provides. 


CRITICISMS  BY  HER  CONTEMPO- 
RARIES  AND  WRITERS  OF 
THE  PRESENT  DAY. 


Gering  says  : — 

"  Her  discretion,  which  is  the  parent  of  all 
merit,  was  extraordinary,  and  this,  together 
with  the  peculiar  blending  of  her  colours, 
raised  this  artist  to  a  high  place.  In  all  her 
pictures  there  is  made  evident  the  workings 
of  a  tender  soul." 

Nagler  says : — 

'*The  tenderness  and  amiability  of  Angelica, 
which  tinged  her  work  with  a  certain  softness 
and  tenderness  which  was  most  pleasing,  to- 
gether with  the  facility  and  certainty  of  her 
method  of  painting,  caused  her  historical 
pictures  to  be  most  popular,  especially 
amongst  the  English.  In  portraits  she  at- 
tained a  well-deserved  reputation,  as  she  not 
alone  made  an  excellent  likeness,  but  also 
gave  the  mind  and  character  of  the  sitter. 


336  Angelica  Kauffmann, 


Her  portrait  of  Winckelmann  is  a  proof  of 
this.  Her  subjects  are  always  well-chosen, 
and  her  figures  marked  by  dignity  and  grace  ; 
this  last  applies  especially  to  her  women. 
Her  men  are  timid-looking  fellows. 

Heroes  and  dramatic  situations  being 
alike  foreign  to  her  gentle  nature,  she  was 
unable  to  depict  them.  Nevertheless, 
Angelica,  together  with  Mengs  and  Fuger, 
must  not  be  judged  by  the  present  day 
standard.  She  appeared  at  a  moment  when 
all  was  dark  in  the  horizon  of  art,  as  a  mes- 
senger of  better  times  that  were  at  hand, 
and  if  she  herself  failed  in  accomplishing  all 
she  might  have' done,  so  did  the  two  before- 
named  artists.  She  is  blamed  for  a  certain 
incorrectness  in  the  outlines,  monotony  in 
her  backgrounds,  and  for  the  use  of  too  bril- 
liant zo\o\ix's>y—Naglers  Ktmstler-Lexicon. 

Sternberg,  her  hardest  critic,  acknowledges 
*'that  she  had  a  sweet  nature  but  a  feeble 
talent.  Her  reputation  never  could  have 
risen  to  the  level  of  a  national  artist,  it  was 
confined  to  drawing-room  coteries  ;  and  such 
fame  as  she  attained  was  due  to  the  vanity 


Critical  Notices.  337 

of  the  amateurs  amongst  whom  she  Hved,  far 
more  than  to  any  artistic  merit  she  possessed. 
From  England  her  trumpet  was  blown  most 
loudly,  and  there  her  patrons  filled  their 
houses  with  her  pictures.  Everyone  knows* 
however,  that  in  matters  of  art  this  little 
Island  has  no  claim  to  be  listened  to!' 

Goethe  pronounces  decidedly  in  her  favour. 
*^  Her  paintings  are  full  of  thought,  beautiful 
in  form,  composition  and  colour,  and  their 
treatment  is  excellent.  These  are  the  prin- 
cipal characteristics  of  this  artist,  whom  no 
living  painter  can  approach  in  taste  and  light- 
ness of  touch."  He  adds  :  For  a  woman 
she  has  a  really  wonderful  talent,  and  one 
must  judge  her  by  her  success,  not  by  her 
failures,  for  how  few  artists  would  stand  the 
test,  if  one  takes  into  account  their  failures  or 
shortcomings  ?  " 

Herder,  in  his  Ktcnst  Literatur,  speaks 
highly  of  Angelica's  talent.  The  article 
should  be  read  for  its  clear  definition  of  the 
Grecian  forms  of  art.  How  can  we  suffi- 
ciently admire,"  he  says,  the  beauty  of  their 
figures — how  body  and  soul  seem  to  unite  in 


338  Angelica  Kauffmann. 

perfect  harmony  without  one  discordant  note  ; 
and  where  there  is  more  than  one  figure, 
how  perfect  is  the  attitude  of  both  ;  how  they 
look  at  one  another ;  how  they  listen  to  one 
another;  persuasion  dwells  upon  their  lips, 
although  no  word  issues  from  their  mouths. 
When  their  hands  touch  their  soft  arms  inter- 
twine and  their  eyes  meet :  what  sweet 
harmony  directs  every  motion.  I  have  never 
seen  a  group,  such  as  'Orestes  and  Pylades,' 
or  '  Orestes  and  Electra,'  without  observing 
this  tender  union  which  exists  between  each 
figure.  So  it  is  with  the  few  paintings  left 
of  their  work,  and  also  in  the  numerous  basso 
relievos  which  adorned  every  Greek  dwelling- 
house.  There  we  find  that  repose  which  is 
so  wanting  in  the  tumultuous  compositions  of 
our  days.  Raphael  imbibed  much  of  this 
spirit,  and  Mengs  shows  somewhat  of  it  in 
his  picture  of  '  Jupiter  and  Ganymede.'  In 
Angelica's  compositions,  too,  there  is  an  effort 
to  attain  this  harmony.  Her  men  and  women 
have  this  innate  moral  grace  ;  her  young  men 
are  more  like  Genii  walking  this  earth  ;  a 
savage  even  becomes  gentle  in  her  hands. 


Critical  Notices. 


339 


So  far  as  a  pure  and  innocent  mind  may,  she 
has  gone  to  the  depths  of  humanity,  and  her 
fine  intelligence  has  so  arranged  the  whole 
as  to  develop  each  portion  like  a  growing 
flower/* — Kunst  Literatur^  vol.  vii. 

Waagen  in  his  Treasures  of  Art,"  while 
giving  a  side  thrust  at  her  sentimentalities, 
speaks  of  the  warmth  of  her  colouring  and 
careful  execution. 

A  French  critic  says:  Her  heads  have 
much  of  the  majesty  and  divinity  of  Guido, 
with  a  mixture  of  the  light  school  of  Albano 
and  Correggio.  She  was  capable  of  express- 
ing all  the  elevated  and  tender  passions. 

*'An  examination  of  her  style,  however, 
obliges  us  to  acknowledge  that  there  is  a  lack 
of  energy  underlying  her  elegance  and  no- 
bility of  thought,  and  therefore  it  is  that  she 
always  avoided  any  strong  or  terrible  situa- 
tions, in  depicting  which  she  would  have 
utterly  failed.  In  subjects  of  domestic 
interest,  calm  and  not  heroic,  she  is  at  her 
best,  that  is  to  say,  full  of  tenderness  and 
inexpressible  grace.  Her  exaggeration  in 
colouring  was   greatly  modified  during  her 

Z  2 


340  Angelica  Kauffmann. 


residence  abroad  ;  and,  in  her  later  pictures, 
her  style  is  broader,  less  brilliant  and  more 
vigorous.  Her  touch  was  large,  her  know- 
ledge great,  and  she  possessed  in  a  high 
degree  a  feeling  of  the  picturesque  as  also 
of  the  art  of  grouping,  having  acquired  a 
habit  of  seizing  the  best  attitudes  in  which 
to  place  her  models.  She  arranged  her 
draperies  with  such  consummate  art  that,  as 
one  of  her  admirers  remarked,  '  Your  figures 
could  walk  without  disarranging  their 
garments.'  ^' — Biogi^aphie  Nouvelle. 
A  writer  in  the  Art  Journal  says  : — 
She  was  a  woman,  and  therefore  an 
optimist ;  she  believed  in  the  possibility  of 
regenerating  art,  and,  womanlike,  she  would 
be  satisfied  with  nothing  but  the  highest 
motives,  and  loftiest  aims.  There  was  to  be 
no  truckling  to  expediency,  no  half-hearted 
compromises  with  indifference  and  a  public 
taste,  which  has  gone  to  the  bad.  High  art, 
art  of  the  highest,  was  her  model."  He, 
however,  adds  some  strong  words  of  criticism, 
principally  directed  against  her  colouring, 
which  has  **a  tendency  to  vinous  tones,  which 
is  often  unpleasant/' 


Critical  Notices. 


341 


Anthony  Pasquin  says  :  That  connecting 
her  beauty  with  her  knowledge,  and  her 
sweet  disposition  with  both,  she  was,  perhaps, 
the  most  fascinating  woman  in  Europe/' 

Seguier  gives  a  lengthened  notice,  the  gist 
of  which  is  that  Angelica  Kauffmann  loved 
to  make  a  composition  of  her  portraits,  and 
this  she  did  remarkably  well.  The  figures  are 
generally  about  three  feet  high,  and  when  the 
subject  is  an  interior  the  children  are  generally 
represented  naked  or  as  cupids.  One  great 
point  of  beauty  is  the  grace  of  the  attitudes 
and  the  care  she  bestowed  upon  the  hands. 
He  adds,  In  her  faces  she  has  the  man- 
nerism of  bringing  the  nose  and  chin  too  near 
together/' 

Miss  Charlotte  Knight,  the  authoress  of 
Dinarbas,"  and  whose  memoirs  are  such 
pleasant  reading,  gives  a  charming  picture  of 
the  artist,  whom  she  classes  amongst  those 
who  have  ennobled  the  profession,  and  whose 
works  are  intended  not  merely  to  please  the 
eye,  but  to  elevate  the  mind.  She  was  great 
as  an  artist,  engaging  and  amiable  as  a  woman. 
In  her  house,  her  garden,  her  domestic  estab- 
lishment, all  was  most  proper  and  unostenta- 


342  Angelica  Kauffmann. 


tious.  Her  choice  of  books  was  excellent,  and 
with  her  all  was  harmony  and  grace." 

A  writer  in  the  Dictionary  of  National  Bio^ 
graphy  suggests  that  her  personal  attractions 
partly  account  for  the  exaggerated  praise 
showered  on  her  art  by  her  contemporaries. 

This  view,  although  it  is  somewhat  un- 
sympathetic, seems  to  have  been  in  a  measure 
the  true  one,  with  this  difference,  it  was  not 
Angelica's  charms,  for  she  was  not  beautiful, 
but  it  was  her  personality  that  had  to  do 
largely  with  her  success.  It  was  that  strange 
complex  nature  of  hers,  a  mixture  of  simplicity, 
goodness,  shrewdness,  deep  thought,  infinite 
tenderness,  and  childlike  gaiety  ;  artistic  aims, 
and  homely  affections :  all  these  combined 
to  make  up  an  amount  of  fascination  which 
worked  as  a  spell  upon  all  who  came  under 
its  influence,  and  blinded  the  clearer  judg- 
ment of  those  who  should  have  corrected,  by 
judicious  criticism,  the  glaring  faults  which 
disfigure  her  artistic  productions.  We  can  in 
no  other  way  account  for  the  infatuation  (for 
we  can  call  it  by  no  other  word)  which  in- 
duced Mr.  George  Bowles,  of  Wanstead, 
Lord  Exeter,  Mr.  Parker,  of  Saltram,  Mr. 


Critical  Notices. 


343 


Forbes,  and  others,  to  fill  their  houses  with 
her  enormous  canvases.  It  seems  as  if  they 
could  not  have  enough  of  them.  This,  too, 
at  a  moment  when  the  matchless  works  of 
such  artists  as  Gainsborough,  Romney,  Rey- 
nolds, were  to  be  had  for  almost  the  same, 
perhaps  less  money.  It  must  be  owned  that 
the  descendants  of  Angelica's  admirers  have 
some  cause  to  grumble. 

That  the  present  century  should  have  re- 
versed the  judgment  of  the  last  is  only 
natural,  for  to  us  her  pictures  are  somewhat 
uninteresting,  reproducing,  as  most  of  them 
do,  the  fables  of  ancient  mythology,  the  taste 
for  which  had  died  out  even  in  her  day.  The 
result  of  Count  Calonne's  sale  of  Angelicas 
pictures  in  1825  marked  the  decadence,  and 
the  Bowles- Rushout  sale  in  1879  was  con- 
clusive as  to  the  estimation  set  upon  her  best 
work.  Angelica  has  been  dethroned  from 
her  position  as  popular  idol,  perhaps  with  a 
precipitancy  that  will  ultimately  produce  a 
reaction,  of  which  indeed  signs  are  not  want- 
ing. At  every  sale  there  is  fierce  competition 
for  Bartolozzi's  mezzotints,  and  who  can  tell 
when  an  equally  strong  desire  may  grow  up 


344  Angelica  Kauffmann. 


for  the  original  pictures  by  Angelica.  Her 
earlier  works  have  a  freshness  quite  delight- 
ful ;  the  composition,  too,  is  graceful ;  but  the 
colour,  that  dull  red,  is  decidedly  crude  and 
disagreeable. 

For  the  moment,  however,  any  effort  at 
just  criticism  of  her  paintings  would  be  more 
than  useless.  The  fin  de  siecle  is  realistic, 
not  to  say  matter  of  fact :  criticism  is,  as  it 
should  be,  hard,  and  to  the  point,  and  little 
or  no  allowance  is  made  for  sentiment ; 
whereas,  in  Angelica's  time,  it  was  all  senti- 
ment ;  there  was  a  cloud  of  romance  floating 
in  the  air,  men  fought  for  a  lady's  flower  or 
ribbon,  if  she  dropped  it ;  cupids  were  the 
fashion,  so,  too,  was  the  gift  of  tears.  Women 
wept  prettily  (an  art  now  forgotten)  over  every 
trifle,  from  the  sorrows  of  Clarissa  Harlowe, 
to  a  dead  bullfinch  ;  the  magazines  of  the  day 
were  filled  with  maudlin  verses  sickening  to 
read.  If  we  reflect,  it  is  easy  to  understand 
how  this  strained  sentiment  came  about. 

Making  due  allowance  for  the  exceptional 
and  pre-eminent  powers  of  Hogarth,  English 
art  had  been,   for  more  than   a  century, 


Critical  Notices. 


345 


singularly  barren  of  anything  approaching  to 
what  might  be  termed  artistic  feeling.  It 
was,"  says  a  well-known  writer,  nakedly 
and  narrowly  Protestant ;  it  hadn't  even  the 
relaxation  of  a  good  historical  painter,  who 
may,  if  he  be  a  man  of  thought  and  purpose, 
infuse  a  spirit  almost  religious  into  his  work.'* 
From  the  time  of  Charles  II.  there  had  been 
cold  realism,  and  now,  under  the  Georges, 
romance  was  fashionable.  Angelica  was, 
therefore,  in  keeping  with  the  generation  in 
which  she  lived.  She  was  not  a  whit  too  sen- 
timental for  the  sentimentalists,  and  we  must, 
or  we  ought,  to  take  this  into  account,  when 
judging  her  work.  Likewise,  it  may  be,  that 
we  of  this  century  are  going  a  little  too  far 
in  the  opposite  direction.  Is  it  not  the  case 
that  we  are  losing  touch  of  those  delicate 
perceptions  which  should  underlie  all  art 
criticism  ?  Technical  skill,  form,  colour  are 
excellent  qualities  in  a  picture,  but  should 
there  not  be  feeling  as  well — feeling  that 
should  stop  short  of  sentimentalism  ;  but  sen- 
timent, a  certain  phase  of  fervid  balmy  deli- 
cacy of  emotion,  this  is  a  natural  development, 


346  Angelica  Kauffmann. 

and  should  accompany  every  true  artistic 
effort,  and  when  present  should  merit  appro- 
bation, albeit  it  be  accompanied  by  faults 
which  mar  the  general  effect. 

Those  who  appreciate  this  sweetest  quality 
can  find  much  to  admire  in  Angelica  s  work, 
in  the  colour,  in  the  grouping,  and  in  that 
indescribable  charm  which  she  herself  pos- 
sessed, and  which  she  infused  into  most  of 
her  pictures.  Over  such  judges  as  these  last 
she  still  holds  her  sway.  To  them  the  feel- 
ing which  underlies  the  ill-drawn  shepherds 
and  shepherdesses  of  Arcadia  compensates, 
in  a  measure,  for  the  lapses  in  technical  skill: 
they  see  the  soul  of  the  woman  shining 
through  the  picture ;  they  mark  the  elevated 
tone,  and  they  honour  her  effort,  although 
they  cannot  but  blame  its  execution. 

These  men  are,  however,  idealogists  ;  in 
the  strong  army  of  critics  we  meet  but  few 
of  them.  It  must  be  owned  they  would  be 
unsafe  guides  to  our  young  artists,  to  whom 
nothing  could  be  more  fatal  than  the  develop- 
ment of  a  sentimental  school.  Still,  it  should 
never  be  forgotten  that  the  proper  aim  of  all 


Critical  Notices. 


347 


art  is  to  elevate  the  mind.  That  Angelica's 
aim  was  a  high  one,  that  she  failed  in  giving 
it  always  effect,  was  due  to  a  multiplicity  of 
causes,  some  of  them  beyond  her  control. 
That  she  was  aware  of  her  shortcomings  is 
certain,  and  that  she  strove  to  cover  her  de- 
ficiencies by  overcrowding  her  canvas,  and 
so  heaping  fault  upon  fault,  was  an  error  in 
judgment  much  to  be  deplored  ;  that  she  like- 
wise was  injudicious  in  selecting  historical 
subjects  is  evident :  she  possessed  neither  the 
technical  knowledge  necessary  for  grouping 
a  crowd  of  figures,  nor  the  grasp  of  mind 
for  seizing  the  most  dramatic  point  in  the 
situation  ;  hence  her  inability  to  impress  the 
spectator,  who  sees  a  confused  mass  of  arms 
and  legs,  to  say  nothing  of  the  difficulty  of 
discriminating  the  sexes  by  the  test  of  facial 
contour  and  energy. 

Some  of  her  smaller  classical  pieces  are 
better  drawn,  and  the  difference  between  men 
and  women  more  clearly  defined.  Thus, 
Telemachus  at  the  Court  of  Menelaus  is  a 
most  pleasing  picture  ;  the  attitude  of  the  son, 
who  hears  for  the  first  time  of  his  father  s 


348  Angelica  Kauff^nann. 


supposed  death,  is  full  of  pathos.  There  is 
much  dignity  in  the  figure  of  Menelaus,  while 
Helen,  who  advances  to  console  the  sorrowing 
youth  is  perfectly  charming  ;  it  will  be  noticed 
that  the  burden  here  falls  upon  the  three 
principal  figures.  The  same  judgment  must 
be  passed  by  even  an  adverse  critic  on  ''La 
bergere  des  Alpes,'^  one  of  Angelicas  best 
pictures ;  here  there  are  only  two  figures. 
Exception  may  be  taken  to  the  somewhat 
womanly  air  of  Fonrose,  but  one  loses  sight 
of  this  in  looking  at  the  delightful  shepherdess, 
who  approaches  with  her  flock  of  sheep  un- 
seen by  the  disguised  Marquis.  Such  a 
dainty  figure,  exquisitely  graceful ;  there  can 
be  no  cavilling  over  this  picture,  it  is  admir- 
able in  every  detail.  On  the  other  hand,  we 
may  take  her  large  canvas  of  Religion  as  a 
specimen  of  her  at  her  worst.  With  its  sprawl- 
ing figures  of  Faith,  Hope  and  Charity,  it 
purports  a  representation  of  what  is  meant  to 
elevate  the  mind,  but  which  is,  in  fact,  more 
likely  to  produce  a  feeble  nightmare  than  to 
raise  the  thoughts  of  the  beholder  heaven- 
wards. 


Critical  Notices, 


349 


These  examples  go  to  prove  that  Angelica 
mistook  her  vocation  when  she  consecrated 
her  brush  to  the  delineation  of  classical  or  re- 
ligious subjects.  Nature  had  intended  her 
for  portraiture,  there  lay  her  true  talent.  If 
^  she  had  been  wise  enough  to  cultivate  this 
branch  of  art  more  closely,  and  had  not 
looked  upon  it  merely  as  a  means  of  subsist- 
ence, to  be  accomplished  hurriedly,  and  con- 
sequently carelessly,  she  might  have  achieved 
a  lasting  success,  and  have  left  a  reputation 
akin  (with  a  difference)  to  that  of  Reynolds.^ 
She  had  many  qualifications  for  the  task ; 
imagination,  sympathy,  and  that  quick,  search- 
ing insight  into  the  character  of  the  sitter 
which  goes  to  make  a  good  artist.  This 
was  the  secret  of  the  extraordinary  success 
achieved  by  Reynolds,  and,  to  a  certain 
extent,  Angelica  might  have  followed  in 
his  footsteps.  What  was  said  of  him  could 
be  applied  to  her  ;  that  her  portraits  of  women 

Seguier  says  :  "  There  is  such  a  Sir  Joshua.  Rey- 
nolds-like feeling  about  her  groups  as  to  lead  us  to  think 
that  she  must  have  studied  his  works  very  carefully,  but 
the  reader  must  not  suppose  she  imitated  him  more  than 
did  Cosway." 


350  Angelica  Kaiiffmamt, 


are  sometimes  so  charming  that  we,  for  a  mo- 
ment, lose  the  familiar  idea  of  the  person  in 
their  elevation  to  a  muse  or  a  goddess  ;  how- 
ever this  applies  to  her  mythological  disguises, 
which,  to  our  ideas,  are  tiresome  masquerades, 
too  often  repeated.  But  there  are  many 
portraits  of  hers  which  are  graceful,  carefully 
executed  compositions.  Amongst  these  may 
be  named  Mrs.  Bates,^  a  really  fine  picture, 
formerly  in  the  Burghley  Collection.  Lady 
Eardley,^  as  a  portrait  of  an  elderly  lady,  is 
excellent,  and  there  are  some  of  her  groups 
of  children  charming  in  finish  and  delicacy, 
A  portrait  of  herself,  now  at  Messrs.  Dowdes- 
weirs  Gallery,  should  be  seen.  It  is  an 
admirable  specimen,  the  face  well  finished, 
while  the  soft  colour  of  the  blue  strap  across 
her  shoulder  contrasts  well  with  the  brown 
dress.  Another  portrait  of  herself,^  as  an 
Italian  lady,  is  very  rich  in  colour,  the  detail 
of  the  dress  is  good,  but  the  background  top 
monotonous. 

^  Now  in  possession  of  Mr.  Messell. 
^  Belonging  to  Sir  Thomas  Blomefield, 
^  Belonging  to  Mr.  Bowring. 


Critical  Notices.  35 1 


In  her  own  day  Angelica's  portraits  were 
highly  considered,  it  was  the  fashion  to  be 
painted  by  her.  The  highest  ladies  in  the  land, 
and  the  most  beautiful,  sat  to  her  for  their 
portraits— Georgiana,  Duchess  of  Devonshire, 
Mrs.  Sheridan,  Lady  Northwick,  and  Lady 
Hamilton.   How  is  it  that  we  never  see  them  ? 

Year  after  year  the  company  of  the  silent 
dead  fill  the  halls  of  the  Royal  Academy. 
They  come  from  all  parts,  these  high-born 
lords  and  ladies  of  the  past.  The  lovely,  the 
good,  the  wicked,  and  the  frail,  look  down 
from  their  gilded  frames  upon  the  world  of 
to-day.  Old  friends  in  plenty  form  part  of 
these  gatherings.  Titian  s  grand  Venetians, 
Holbein's  burly  kings  and  courtiers,  Lely's 
wanton  beauties,  Hogarth's  rakes  and 
harlots,  Reynolds's  ever  delightful  men  and 
women  are  all  gathered  to  the  show,  while 
the  female  Academician  is  conspicuous  by 
her  absence.  Why  is  this  ?  It  seems  unjust 
to  exclude  her  from  an  exhibition  of  old 
Masters,  who  were  her  contemporaries  and 
confreres.  The  present  generation  know 
very  little  of  her  works.    They  should  see 


352 


Angelica  Kauffmann, 


some  of  her  best,  and  be  allowed  to  judge 
for  themselves; 

In  considering  the  works  of  the  artists  of 
the  last  century,  nothing  excites  more  sur- 
prise and  admiration  than  the  extraordinary 
power  of  production  they  possessed  ;  it  was 
boundless.  Pictures  came  from  their  hands  as 
if  by  machinery.  A  great  deal  was  method  ; 
and,  moreover,  most  of  them  had  a  school  of 
students  who  could  be  trusted  to  paint  the 
draperies  and  accessories,  and  forward  the 
middle  stages  of  the  work.  In  this  manner 
Northcote  assisted  Sir  Joshua  ;  Lancret 
worked  for  Watteau  ;  and  Angelica,  no  doubt, 
was  helped  by  both  the  Zucchis,  Hamilton 
their  pupil,  her  father,  and  some  others. 
Zucchi,  describing  her  method  of  painting, 
represents  it  as  a  sort  of  manufactory.^ 
Angelica,"  he  says,  *'tock  sketches  of  the 
heads,  and  placed  them  afterwards  in  any 
position  she  chose  to  select ;  the  draperies, 
etc.,  were  often  painted  by  others."  John 
Joseph  confessed  to  Mary  Moser  that  he  had 

^  She  was  handsomely  paid  for  her  portraits,  and  was 
able  to  maintain  herself  con  decora,— ZucchVs  MS. 


Critical  Notices. 


353 


many  times  copied  his  daughter's  pictures; 
and  passed  them  off  upon  purchasers  in  the 
same  way.  Much  of  the  house  decora- 
tions ascribed  to  her  was  the  work  of 
Antonio  Zucchi  ;  and  in  her  later  years  she 
was  assisted  by  her  cousins,  two  of  whom, 
Caroline  and  Peter  Kauffm.ann,  were  studying 
as  artists  in  Rome. 

If  deliberate  deceptions  were  practised 
with  her  knowledge,  it  does  not  speak  well 
for  her  sense  of  what  was  due  either  to  herself 
or  to  her  clients.  A  certain  amount  of  help  is 
permissible,  and  it  has  happened  that  artists 
of  great  reputation  have  been  often  them- 
selves defrauded.  Half  the  pictures  of  the 
old  masters  credited  as  originals  are  only  in- 
different copies.  If  all  the  so-called  Raphael? 
were  genuine,  the  painter  must  have  had 
three  or  four  pairs  of  hands.  Waagen  says 
that  at  the  sale  of  the  Marquis  of  Exeter's 
collection,  some  years  ago,  scarcely  one  could 
be  allowed  to  take  rank  amongst  the  works  of 
the  great  masters  whose  names  they  bore  in 
the  catalogue,  and  the  same  story  repeats 
itself  in  almost  every  collection  that  comes 

A  a 


354  •         Angelica  Kauffmann. 


to  the  hammer.  It  is  well  known  that  com- 
paratively few  of  George  Morland's  works 
were  by  his  own  hand,  as  replicas,  Mr.  Red- 
grave tells  us,  were  made  on  the  spot  by 
artists  in  the  pay  of  his  employer,  who  set 
them  to  work  so  soon  as  the  artist  left 
the  house.  So  too  with  Bartolozzi's  en- 
gravings, many  of  which  are '  the  production 
of  his  pupils, 

Nathaniel  Dance  produced  pictures  so  like 
in  style  and  colouring  to  Sir  Joshua's  that 
even  the  best  judges  are  deceived ;  in  the 
matter  of  art  mendacity  is  an  old  story. 

A  word  must  be  said  as  to  the  portraits  of 
Angelica,  painted  by  herself. 

The  extraordinary  number  of  these  must 
always  excite  surprise  :  it  was  a  strange  fancy 
of  hers  to  present  her  own  features  under 
every  possible  form,  as  a  Sibyl,  a  Muse,  a 
Vestal;  as  Urania,  Clio,  Sappho,  Una;  as 
Fortitude,  Hope,  Charity,  Innocence,  etc. 
Besides  these  masquerades  (if  we  may  so 
call  them)  there  were  numerous  portraits  of 
her  in  her  own  character.  These  she  gave 
to  friends.  Usually  every  patron  received 
one. 


Critical  Notices. 


355 


It  is  not  astonishing  that  this  constant  self- 
production  was  set  down  as  an  over-estimation 
of  her  own  charms  ;  people  smiled  at  her 
evident  good  opinion  of  herself.  Such 
glaring  undisguised  vanity  was,  however,  not 
in  keeping  with  a  character  like  hers,  in 
which  simplicity  was  allied  with  good  sense, 
for  to  exhibit  self-love  so  openly  would  be 
a  proof  of  folly.  One  explanation  of  her 
apparent  self-glorification  lies  in  the  well- 
known  fact  that  in  the  last  century  it  was 
almost  impossible  to  get  a  female  model  to 
sit ;  it  was  not  at  that  time  considered  a  re- 
spectable or  even  decent  calling,  and  women 
with  very  little  claim  to  either  of  these 
appellations  shrank  from  it.  On  the  other 
hand,  such  characters  as  Kitty  Fisher  and 
Nelly  O'Brien  were  inadmissible  to  Angelica's 
studio.  She  was  therefore,  in  a  measure, 
driven  to  copy  from  her  own  circle  of  friends  ^ 
— most  frequently  from  herself. 

Considering  the  great  difficulty  of  self- 

^  For  "  Hector  and  Andromache,  nurse  and  child,"  the 
models  were  a  young  married  couple,  friends  of  hers, 
with  their  newly- born  baby.  Rosa  Florini  also  sat  for 
different  pictures,  including  Faith. 


355 


Angelica  Kauffvtann. 


portraiture,  it  must  be  owned  she  succeeded 
admirably,  although  it  may  be  that  her 
version  of  herself/'  as  Mr.  Anderdon  calls  it, 
is  more  beautiful  than  the  original.  It  must  be 
remembered,  however,  that  all  painters  are 
permitted  to  idealize  the  model.  That  she 
did  not  always  do  so  is  clear  from  the  portrait 
of  herself  that  she  gave  to  her  father's  canton, 
which  has  a  ludicrous  resemblance  to  one  of 
the  heads  found  in  a  mummy  case.^ 

Angelica  s  portrait  has  been  given  to  us 
by  other  hands  than  her  own.  The  first  we 
have  of  her  is  as  a  child,  and  it  must  be 
owned  an  ugly  child,  with  too  big  a  head  ; 
then  we  have  a  miniature  by  John  Smart, 
date  1 764,  the  year  she  went  to  Rome,  and 
sat  at  the  feet  of  the  apostle  of  art,  Winckel- 
mann.  She  was  then  twenty-three,  but 
Smart  represents  her  as  seventeen.  It  is 
quite  a  girlish  face,  and  gives  the  idea  of  a 

^  The  coloured  copy  of  this  picture  in  Rossi's  edition 
de  luxe  is  a  very  pleasing  resemblance :  the  hair  of  a 
peculiar  golden  brown,  matches  the  colour  of  the 
almond-shaped  eyes,  the  mouth  is  not  so  long ;  there  is 
an  air  of  courtly  simplicity,  the  dress  is  charming — a 
sort  of  coat  trimmed  with  fur  and  laced  with  scarlet 
ribands.  i 


Critical  Notices. 


357 


sprightly  young  person  with  a  good  opinion 
of  herself — perky  "  is  the  word  that  applies 
no  the  expression — the  hair  is  red,  and  the 
face  fat.  Dance  during  his  love  fit  painted 
Angelica  s  portrait  several  times  :  one  of  his 
is  in  the  Burghley  collection ;  and  Zucchi 
painted  her  once  as  Sappho  conversing  with 
Homer.  A  young  painter  named  Banks  ^ 
painted  a  portrait  of  her,  and  in  1776  her 
father  exhibited  a  picture  of  her  at  the  Royal 
Academy — A  Charity."  To  judge  by  the 
miniature  copy  she  made  of  it,  and  which 
has  been  lately  shown  in  the  collection  of 
historical  miniatures,  John  Joseph  s  portrait 
was  a  poor  affair,  very  much  of  the  waxen 
image  about  it.  The  expression  of  the  face,  as 
she  regards  the  two  children  who  are  the 
recipients  of  her  maternal  charity,  is  absolutely 
nauseous.^ 

And  now  we  come  to  Sir  Joshua  s  beautiful 
portrait  of  her.  I  say  portrait,  although  as 
a  matter  of  fact  he  painted  her  three  times, 

^  Not  Thomas  Banks,  R.A. 

2  Mr.  Tuer,  in  his  ^'Bartolozzi  and  His  Works,'*  men- 
tions having  in  his  possession  a  portrait  of  Angelica  by 


358  Angelica  Kauffmann. 


The  first  picture  was  taken  in  1766,^  the  year 
of  her  arrival  in  England  ;  the  second,  shortly 
after  Horns  desertion  ;^  the  third  and  last  in 
1777.    This  is  the  one  engraved  by  Barto- 
lozzi,  and'  is  well  known  to  all  collectors,  a 
beautiful  picture,  yet  what  a  contrast  it  pre- 
sents to  the  bright-eyedj  self-satisfied  girl  of 
Smarts  portraiture.    This  is  what  life  had 
brought  to  Angelica,  and  yet  one  would  not 
wish  it  otherwise.    It  is,  indeed,  the  face  of 
a  woman  who  has  known  what  it  is  to  suffer, 
but  has  risen  above  suffering  and  has  at- 
tained peace.    Looking  at  it,  one  gets  some 
idea  of  where  lay  that  strange  power  of 
attraction  which  fascinated  those  of  Angelica's 
own  generation.    What  gentle  dignity,  how 
sweet  is  the  evident  desire  to  please,  while 
the  wistful  sadness  in  the  lamp-like  eyes 
draws  us  irresistibly  to  her.  The  whole  air  of 
the  picture  breathes  refinement.  A  rondo 
some  one  calls  it  not  inappropriately.^ 

.  ^  Sold  at  Messrs.  Christie's  in  1832  to  Mr.  Hind  for 

^  Sold  in  1850  at  Messrs.  Christie's  for  3/.  3^-. 
^  Jn  Mr.  Anderdon's  catalogues  we  find  the  following, 
which  brings  us  curiously  in  touch  with  the  picture: 


Critical  Notices.  559 

Sir  Joshua  gave  the  picture  to  Angelica. 
It  may  be  that  she  would  have  preferred  his 
keeping  it,  in  memory  of  her.  The  old 
romance,  however,  if  it  ever  existed,  was 
dead  by  this  time  ;  there  was  not  even  a 
withered  leaf  of  the  fiori  "  left,  so  Angelica 
packed  up  her  picture  (or  probably  Zucchi 
did  so),  and  they  took  it  with  them  to  Italy. 
It  was  hung  in  a  prominent  position  in  their 
house  in  the  Arco  di  Regina,  for  both  Goethe 
and  Rossi  saw  it  there.  Angelica  always 
kept  it :  it  reminded  her  of  the  palmy  days 
of  her  youth,  and  very  probably  she  got  to 
believe  that  Reynolds  had  really  loved  her, 
and  told  this  story  to  her  friends.^ 

When  she  died,  she  left  the  picture  to  her 
cousin,  Johann  Kauffmann,  who  had  lived  in 
the  house,  saying  in  her  will  that  it  was  the 
portrait  painted  of  her  by  the  celebrated 

it  is  the  original  receipt: — Received  November  ist, 
1780,  the  sum  of  ninety  guineas,  in  full,  for  a  plate 
of  Mrs.  Angelica  Kauffman,  after  Sir  Js.  Reynolds. 
Francesco  Bartolozzi/' 

^  She  made  copies  in  miniature  form  of  the  picture, 
and  gave  them  to  her  friends.  One  of  these  was  in 
the  exhibition  of  Historical  Miniatures.  It  is  a  fair 
copy.  It  is  s'gned  A.  Kauffmnnn,  and  was  £iven  to 
Adclina  Rosalba  in  1783. 


360  Angelica  Kauffmann. 


English  painter,  Ritter  (knight)  Reynolds. 
There  is  something  touching  in  this,  poor 
soul !  She  clung  to  her  early  triumphs  even 
when  writing  her  last  wishes  :  not  that 
this  availed  much,  for  Johann  dying,  in 
his  turn  left  it  to  his  nephew,  another  John 
Kauffmann,  who  forthwith  carted  it  off,  and 
all  he  could  find  of  saleable  matter  with  it,  to 
England,  where  the  best  price  was  likely  to 
be  got. 

Sir  Joshua's  picture  was  sold  in  i860,  at 
Messrs.  Christie  s  rooms,  to  Mr.  Fairholme 
of  Leamington.^ 

The  auction  room  is  the  ultimate  end  of 
most  collections ;  they  seem  to  gravitate 
thither  almost  with  certainty.  Angelica's 
pictures  have,  however,  changed  hands  very 
constantly.  Those  who  understand  the  vicis- 
situdes of  picture  sales  say  that  the  demand 
for  her  work  is  steadily  increasing.  This 
will  be  good  news  for  those  who  possess 
more  than  they  need,  or  would  be  glad  from 

^  Mr.  Fairholme,  some  few  years  ago,  sent  the 
picture  to  be  re-sold  at  Messrs.  Christie's.  Only  78A 
was  offered,  so  it  returned  to  Leanaington, 


Critical  Notices. 


prudential  motives  to  dispose  of  what  they 
have.  A  great  number  of  her  pictures  have 
already  gone  to  America,  and  more  are  hkely 
to  follow.  The  constant  sales,  and  the 
difficulty  of  tracing  the  purchasers,  make  a 
complete  catalogue  of  her  pictures  difficult  to 
obtain. 

I  have  to  thank  warmly  those  who  have 
given  valuable  assistance  by  sending  lists  of 
their  pictures.  Mr.  William  Bowles  has  been 
indefatigable  in  his  search  into  the  Bowles 
family  records.  I  wish  I  had  space  enough 
to  give  all  the  interesting  details  of  the 
Wanstead  collection,  which  contained  the 
largest  proportion  of  Angelica's  works. 
Most  of  these  pictures  have  been  traced,  but 
some  were  sold  at  the  Rushout  sale  in  1879, 
to  Aldis,  a  picture  dealer,  who  got  into 
difficulties,  and  at  a  compulsory  sale  of  his 
house  in  Norfolk  Street,  the  Angelicas  were 
sacrificed  for  almost  nothing,  and  went  no 
one  knows  where.  One  of  them  was  found 
lately  in  the  cottage  of  a  working  man  in 
Devonshire. 

I  have  also  to  thank  Mr.  Graves,  of  Pall 


362  A^igehca  Kauffmann. 


Mall,  Messrs.  Dowdeswell,  of  New  Bond 
Street,  Mr. Harvey,  Messrs.  Christie,  Manson, 
and  Woods,  Messrs.  Phillips  and  Neale,  for 
their  kindness  in  giving  me  every  help  in 
their  power.  Mr.  Algernon  Graves's  admir- 
ably arranged  catalogues  of  the  Royal 
Academy,  etc.,  have  been  of  the  greatest 
assistance. 


APPENDIX. 

 ♦  


ORIGINAL  OR  (when 
known)  present  owner. 


SUBJECT. 


ENGRAVER. 


Her     Majesty  the 
Queen. 

Albemarle,  Earl  of 

Adams,  Esq.,  of  New 

York. 
Aders,  C. 

Anhalt-Dessau, 
Prince  of. 


Anhalt-Dessau,  Lui- 
seum  Museum. 

Anhalt-Dessau, 
Princess  of. 


Aschaffenburg 
Gallery. 

Bagwell,  Richard, 
Esq.,  Marfield, 
Tipperary. 

Barbaro,  Almero, 
Venice. 


George  III.,  Portrait  of. 
Charlotte,  his  Consort,  Portrait 
of. 

Portrait  of  Anne,  wife  to  the 

2nd  Earl.    29  X  24. 
Portrait  of  a  lady  and  child. ^ 

Portrait  of  an  English  lady  of 
quality. 

1.  Allegorical  Picture  of  Psyche 
fainting  when  the  vessels  were 
opened  which  contained  a 
beautifying  lotion  for  Proser- 
pina. 

2.  Portrait,  Princess  of  Anhalt- 
Dessau,  full  length. 

3.  Cupid  drying  I'sychc's  tears 
with  her  hair. 

4.  Agrippina  clasping  to  her 
heart  the  golden  vessels  con- 
taining the  ashes  of  Ger- 
manicus. 

Princess  of  Courland  as  a  Vestal. 
A  Madonna. 

Portraits  of  Mrs.  Bousfield  and 
a  lady  (name  unknown). 

Portrait  of  himself. 


1767. 
1766. 


1771. 


1781. 


A  Bought  from  Mr.  Dowdeswell,  New  Bond  Street,  April,  1S92. 


364 


Appendix. 


ORIGINAL  OR  (when 
known)  PRESENT  owner. 


Baring,  Sir  Thomas. 
Baronneau,  Francis, 
Esq. 

Bell,    Publislier  of 

Bell's  Poets.'' 
Berlin    Museum  of 
Arts. 


Bernini. 


Berwick,  Lord. 


Bergamo,  Town  of 
Birchall. 


Blomefield,  Sir  Tho- 
mas, The  Grange, 
Wimbledon. 

Boddam,  C,  Esq. 

Bowles,George,  Esq., 
The  Grove,  Wan- 
stead.^ 


SUBJECT. 


View  in  Rome. 

Telemachus  redux  a  Penelope 
e  X  ci  pit  u  r .  — -  Odyssey, 

I>ouisa  Hammond  writing  to 
her  brother. 

Angelica  Kauffmann,  Portrait 
of,  in  the  character  of  half 
Muse  half  Bacchante ;  her 
head  is  crowned  with  a  laurel 
wreath,  and  she  wears  a  robe 
and  girdle  of  gold  colour. 

Angelica  Kauffmann  between 
the  rival  arts  of  Music  and 
Painting.  A  present  from  the 
artist  to  the  sculptor. 

1.  Euphrosyne  wounded  by 
Cupid  and  complaining  to 
Venus. 

2.  Cupid  leading  Bacchus  to 
Ariadne  to  console  her  for  the 
desertion  of  Theseus. 

Holy  Family,  an  altar  piece. 

1.  Una  and  the  Lion.^ 

2.  Abra  "amidst  the  maids  of 
Zagan's  peaceful  groves.'* 
From  Colli ns's  *'  Eclogues. '* 

3.  Painting,  a  portrait  of  herself. 
Portrait  of  Lady  Eardley,  wife 

to  Lord  Eardley,  of  Belve- 
dere. 

L'^da  and  the  Swan. 

I.  Angelica  Kauffmann,  Portrait 
of,  in  the  character  of  Design 
listening  to  Poetry  as  the 
Nymph  Clio. 


ENGRAVER. 


1789. 

Ryland. 

Bartolozzi. 


1796. 


1795- 
Burke, 


1781 


Burke,    1787.  Very 

pretty.' 
1783.    A  gift  to  Mr. 

Bowles. 


1  Una  is  a  portrait  of  herself.    She  repeated  this  subject  often. 

2  George  Bowles,  of  Wanstead  Grove  and  Burford,  Salop,  was  well  known 
as  a  patron  of  art  and  collector  of  enamels  and  curios.  On  his  death,  in 
181 7,  he  bequeathed  Wanstead  and  its  collections  to  his  niece,  the  Hon. 
Anne  Rushout,  daughter  to  the  first  Lady  Northwick,  his  sister,  who  had  pre- 
deceased him.  On  Miss  Rushout's  death  Wanstead  passed  to  Humphrey 
Bowles,  of  East  Sheen,  and  his  son,  the  Rev.  Charles  Bradshaw  Bowles, 
sold  the  bulk  of  the  pictures,  etc.,  in  1849.  On  this  occasion  the  whole  of 
Angelica  KaufTmann's  v/orks  v/ere,  by  a  family  arrangement,  disposed  of  tg 


Appendix. 


365 


ORIGINAL  OR  (when 

known)  PRESENT  OWNER. 

SUBJECT. 

ENGRAVER. 

Bowles,  George,  Esq., 
The  Grove,  Wan- 
stead.  [^Contimiid^ 

2.  Abijah  and  Jeroboam.  ^ 

3.  Alexander  resigning  his  mis- 
tress Campaspe  to  Apelles.^ 

4.  Angelica  and  Sacripant,  from 
Ariosto. 

5.  Aspasia  and  Palus. 

6.  Achilles  discovered  by  Ulys- 
ses.   44  X  32. 

7.  Cornelia,    Mother    of  the 
Gracchi. 

8.  Christ  and  the  two  Maries. 

9.  Cleopatra  and  Augustus. 

10.  Cupid  binding  Aglaia  to  a 
laurel  tree  (Metastasio).3 

11.  Venus  and  Ascanius. 

12.  Venus  chiding  Ganymede."* 
13  &  14.  Cupid's  pastime  (a  pair). 
15.  Bacchus  and  Ariadne. 

16  &  17.  Wisdom  and  Mortality 
(a  pair,  on  copper). 

18.  Cupid    disarmed    by  Eu- 
phrosyne.^ 

19.  Flora  finishing  a  flower  for 
Verelst. 

20.  Gualtherius  and  Griselda. 

Bartolozzi. 
Burke. 

Facius. 

Bartolozzi. 

Bartolozzi. 
Burke. 

Boydell.  1781. 
Boydell  and  Facius. 

I.ady  Cockerell,  daughter  to  the  first  Lady  Nortliwick  and  sister  to  the  Hon. 
Anne  Rushout.  The  pictures  eventually  came  to  this  lady's  grandson,  Sir 
Charles  Fitzgerald  Rushout,  of  Sezincot,  on  whose  death  they  were  sold  at 
Phillips  and  Neale's,  New  Bond  Street,  1879.  Througli  their  kindness 
the  tracing  of  the  pictures  to  the  hands  into  which  they  have  fallen  has  been 
partially  successful.  Many  of  them  were  purchased  by  a  commission  agent, 
Smith,  for  the  American  market  ;  but  the  best  have  remained  in  England, 
and  will  be  found  under  the  alphabetical  headings.  The  sale  of  the  pictures 
realized  ;i£"68oo.* 

^  See  Supplement  under  P. 

^  See  Supplement  under  B. 

^  See  Supplement  under  S. 
See  Supplement  under  P. 

'  See  Supplement  under  S. 


*  The  original  catalogue,  in  the  handwriting  of  Mr.  George  Bowles,  is  most 
quaint  and  interesting.  He  gives  the  position  of  the  pictures — "  Lady  North- 
wack  by  ye  window  :  Oval  over  the  Harpsichord."  In  addition  to  the  forty- 
seven  pictures  sold  in  1879,  there  were  "  Diony^ius  Evander  and  Euphrosia,*' 
the  portrait  of  the  second  Lord  Northwick,  painted  by  Angelica,  in  Rome, 
1794.,  now  at  Burford,  and  **  Horace  and  Calliope,"  from  Anacreon,  Ode  Ixi. 


366 


Appendix. 


Bowles,  George, Esq., 
The  Grove,  Wan- 
stead.  {Continued.) 


21.  Hector  reproaching  Paris. 
44  X  32.    Homer,  6th  book. 

22.  Henry  and  Emma  from  Prior 
23  &  24.  Horace  and  Virgil.  A 

pair — small  ovals. ^ 

25.  Holy  Family. 

26.  Lady  Jane  Grey  giving  her 
Table  book  to  the  Constable 
of  the  Tower. 

27.  Queen  Margaret  of  Anjou 
and  the  robber. 

28.  La  Bergere  des  Alpes.- 
(Oval.) 

29.  Damon  and  Musidora. 
(Ovals — pair.)  . 

30.  Lavinia  and  Palemon. 

31.  Nathan  reproaching  David. 
32  &  33.  Numa.Pompilius  with 

Egeria,  and  Roman  Charity 
(A  pair.) 

34.  Lady  Northwick,  Portrait 
of,  with  child  holding  a  gar- 
land of  flowers.  (Large  oval, 
50  X  42.)  ^  and  1 

35.  Pliny  the  younger  at  Mis- 
enum  during  the  Eruption  of 
Vesuvius,  A.D.  79. 

36.  Rinaldo  arresting  the  arm  of 
Armida,  to  prevent  her  pur- 
pose of  suicide.  (FromTasso.) 
50  X  42. 

37.  Praxiteles,  the  sculptor,  giv- 
ing the  little  statue  of  Cupid 
to  Phryne. 


Boydell. 
Burke.  1792. 

Bartolozzi. 

Bartolozzi. 
Dickinson, 
Dickinson. 
Taylor. 

Bartolozzi. 


Burke.  Macklin 
Gallery. 

Green. 


*  See  under  W. 

-  For  present  possessor      under  letter  R. 

3  This  is  one  of  Angelica's  best  portraits  \  it  is  finely  coloured  and  graceful. 
For  present  owner  see  R.'* 

Rebecca,  Lady  Northwick,  sister  to  George  Bowles,  of  Burford  and  Wan- 
stead  Grove.  Her  husband,  Sir  John  Rushout,  was  raised  to  the  peerage  as 
Baron  Northwick  in  1797.  Her  three  daughters,  Miss  Anne  Rushout,  Lady 
Cockerell,  and  the  Hon.  Mrs.  Sydney  Bowles,  are  well  known  by  Plimer's 
miniature  portrait  of  them  as  the  Three  Graces.  A  fine  copy  of  this  picture 
was  made  by  Bone,  and  is  now  in  the  possession  of  the  present  representative 
of  the  family,  Mr.  Charles  Bowles. 


Appendix^ 


307 


ORIGINAL  OR  (\*  hen 
known)  rRESENT  owner. 


Bowles,  George.Esq., 
The  Grove,  Wan- 
stead.  (Continued^ 


Bovvring,  Victor, 
Esq.,  30,  Eaton 
Place.3 


Boydell,    John  and 
Josiah,  Cheapside.^ 


SUl^ECT. 


38.  Phryne  seducing  the  Philo- 
sopher Xenocrates. 

39  &  40.  Temple  of  Guidus, 
Scenes  from  Montesquieu's 
works.    (A  pair— ovals.) 

41.  Telemachus  and  Mentor  in 
the  Island  of  Calypso. 

42.  Tibullus  writing  an  ode  on 
Lesbia's  wSparrow. 

43.  Ulysses  in  the  Island  of  Circe. 

44.  Virgil  writing  his  own  Epi- 
taph. 

45.  Venus  attired  by  the  Graces. 
(Oval,  40  X  32.)  1  And 

46.  The  Judgment  of  Paris. 
(A  pair.) 

47.  Zeuxis  composing  the  pic- 
ture of  Juno.- 

1.  Penelope  and  her  dog  ;  and 

2.  Angelica  Kauffmann,  said  to 
be  portrait  of.  (Pair — full 
length.) 

3.  Angelica  Kauffmann.  (Half 
length.) 

Troilus  and  Crcssida.  Shake- 
speare Gallery. 

Two  Gentlemen  of  Verona. 
Ditto. 

Industry  and  Patience,  assisted 
by  Perseverance,  crowned  by 


ENGRAVER. 


Bartolozzi. 

William  Bond. 
Bartolozzi. 


Schiavoretti,  1792. 


Facius. 


*  For  present  owner  see  under  K.  ^  See  under  C. 

^  Mr.  Bowring's  collection  is  large  and  well  selected.  The  two  portraits  <.f 
Angelica  are  good  examples  of  her  at  her  best.  The  colouring  is  clear,  the  back- 
ground somewhat  confused.  The  smaller  picture  of  her  was  bought  at  Messrs. 
Christie's  in  1888 ;  the  two  whole  lengths  came  from  Ireland  and  are 
signed. 

**  Alderman  Boydell  did  more  for  the  advancement  of  art  in  England  than  the 
whole  mass  of  the  nobility  put  together.  He  laid  out  upon  his  magnificent  idea 
of  a  National  Shakespeare  Gallery  thousands  of  pounds  ;  some  say  ;/^i5o,ooo. 
others  double  that  amount.  When  he  was  ruined  by  the  French  Revolution 
he  petitioned  Parliament  for  permission  to  dispose  of  the  gallery  by  lottery. 
The  tickets  were  quickly  bought,  but  he  died  before  they  were  drawn.  The 
lot  fell  to  Tuone,  who  set  it  up  to  auction.  The  well-known'  Mr.  Graves, 
of  Pall  Mall,  is  a  descendant  of  the  Boydells.  For  an  original  let'er  to  Boy- 
dell, sec  Supplement  to  Catalogue. 


A ppendix. 


ORIGINAL  OR  (when 
known)  present  owner. 


SUBJECT. 


ENGRAVER. 


Boydell,  John  and 
Josiah,  Cheapside. 
(  Continued. ) 


Bridgewatei",  Duke 
of. 

Briscoe,  Esq.,  Ken- 
sington. 

Brown   (said  to  be 

Count  Brown). 
Bryer,  Ann. 
Bryer. 


Brunswick,  Duchess 
of. 


Calonne,  Colbert, 
French  Ambassa- 
dor. Collector  of 
pictures  and  curios. 
His  collection  was 
sold  in  1825. 

Capucino,  Monsignor 
Nevroni,  Bishop  of 
Como. 

Ceci,  Duke  of. 

Cheeseman,  Esq. 

Charlemont,  Earl  of. 
Clements,  Lieut. -Col. 

the   Hon.  Henry, 

M.P. 


Honour  and  rewarded  with 
Plenty.* 

Sappho,  inspired  by  Love,  com- 
posing an  ode  to  Venus. 

The  Flower  Girl,  after  Sir  J. 
Reynolds. 

Holy  Family, 

Euphrosyne  disarming  Cupid. 
Painted  on  copper.  Small 
oval. 

Pyrrhus  carried  in  the  arms  of 
his  nurse  to  King  Claudius. 

Dido  invoking  the  Gods. 

Aglaia  bound  to  a  laurel  tree  by 
Cupid.  Dedicated  to  the 
Hon.  John  Dawson. 

Portrait  of  the  Duchess.  One  of 
her  best  portraits.  It  is  now 
at  Hamptpn  Court  Palace. 

Jupiter  and  Calista. 

Orpheus  and  Eurydice.^  Two 

large  ovals. 
Zadig.^ 


Portrait  of  himself/* 


Portraits  of  Duke  and  Duchess. 
Portrait    of   Angelica  Kauff- 
mann. 

History  and  Music."^   A  pair. 
Mrs.  Clements  and  infant.  Por- 
trait of. 


Facius. 


Spiolsbury. 


1767. 


178^. 

McArdell,  Dublin, 
1771. 


^  In  this  enormous  picture  she  was  helped  by  Zucchi. 

2  Sold  in  1825  at  Messrs.  Christie's  for  £*io.  The  picture  of  Orpheus  was 
the  likeness  of  the  musician  who  was  in  love  with  her  at  Montfort  Castle.  See 
page  20. 

Zadig  sold  in  1825  for;£"43,  to  Count  St.  Brude. 
^  There  is  another  portrait  of  the  bishop  in  red  and  black,  signed  Marianna 
Caterina  Angelica  Kauffmann,  aged  xiii. 

^  Sold  at  the  Roxborough  sale,  May,  1892,  for 


Appendix. 


369 


ORiGfNAL  OR  (when 
known)  PRESENT  owner. 


Courland,  Duke  of. 


Corbett,  J.  Esq.,  20, 
Hertford  Street,  W. 

Delafosse,  F.,  Esq. 
Derby,  Earl  of.^ 


Digby,  G.  D.W.,  Esq. 


SUBJECT. 


1.  Telemachus  and  Mentor  in 
the  Island  of  Calypso.^ 

2.  Adonis  equipped  for  the 
Hunt.    Venus  and  dogs. 

3.  Bacchus  teaching  the  nymphs 
to  make  verses.  Horace, 
Odes  ii.  19. 

Zeuxis  painting  the  picture  of 
Juno.^ 

La  Penserosa. 

1.  Family  Group  of  Edward, 
1 2th  p!arl,  with  Lady  Eliza- 
beth Hamilton,  his  first  wife, 
and  their  infant  son,  after- 
wards 13th  Earl.  4  feet  x  3 
feet.  (The  figures  appear 
small  and  separate ;  and  the 
divided  action  of  the  child 
who  is  between  them,  destroys 
all  simplicity  and  unity  ) 

2.  The  Return  of  Telemachus.^ 
2  feet  2  inches  x  5  feet.  (A 
long  picture,  originally  de- 
signed for  a  "  Sopra  Porta.'* 
The  composition  comprises 
seven  figures.  The  tints  are 
broken  and  the  shadows 
strong  and  heavy.) 

3.  The  parting  of  Ulysses  and 
Penelope,  a  companion  pic- 
ture to  Telemachus.  (The 
composition  is  far  superior  to 
and  much  more  effectively 
coloured  than  Telemachus.) 

Portrait  of  Countess  Digby. 


ENGRAVER. 


^  The  Duke  of  Courland  saw  the  original  picture,  a  commission  from  Mr. 
Bowles,  of  Wanstead,  and  ordered  two  replicas     Zucchi  MS. 
^  This  fine  picture  was  bought  at  the  Rushout  sale  for  ;ifi36. 
'  The  collection  of  paintings  at  Knowsley  is  one  of  the  finest  in  England, 
comprising  works  of  the  best  masters.     The  catalogue  is  a  most  interesting.' 
volume,  from  which  above  was  taken. 

**  As  pretty  a  painted  tale  as  that  dainty  artist  could  produce,  and  the 
ompan  on  picture  a  sweet  thing  in  oils. — Athenanim,  1880. 

B  b 


370 


Appendix. 


ORIGINAL  OR  (when 

known)  PRESENT  OWNER. 


SUBJECT. 


ENGRAVER. 


Donaldson  Gallery, 
New  Bond  Street. 


Downes,  Chief 

Justice,  Ireland. 
Dresden  Gallery. 


Dugnami,  Cardinal. 
Dublin  National 
Gallery. 


Duff,  Mr. 

Edinburgh  Gallery. 
Exeter,  Marquis  of.^ 


Two  ovals  of  Cupid  dis- 
armed by  Euphrosyne,  and 
Cupid,  Venus,  and  Euphro- 
syne. 

The  death  of  Sylvia's  favourite 
stag. 

1.  Portrait  of  herself  as  a  Sibyl, 
3  feet  6  inches  in  height,  2  feet 
lO  inches  in  width.  Very 
fine. 

2.  Portrait  of  Princess  Mary  of 
Courland  as  a  Vestal. 

3.  Ariadne  deserted  by  Theseus. 
Study  of  a  head.    A  sketch. 

1.  Family  group  of  Lord  and 
Lady  Ely,  their  niece, 
Dorothy  Monroe,  and  Ange- 
lica at  the  clavichord. 

2.  Portrait  of  Dorothy  Monroe.^ 
Portrait  of  himself. 


Novosiels   Ki,    the  architect, 

portrait  of. 
I.  -^thra  and  Theseus. 
3.  Abelard  presenting  Hymen 

to  Eloisa. 

3.  Abelard  and  Eloisa. 

4.  Death  of  Eloisa. 

5.  Marriage  of  St.  Catherine. 

6.  Fame  decorating  the  Tomb 
of  Shakespeare. 

7.  Maria  from  Sterne. 

8.  Penelope  lamenting  over  the 
body  of  Ulysses. 

9.  Love  conquering  Prudence. 

10.  Prudence  resisting  Love. 


Bartolozzi 

popular) . 
Schultze. 


Kriiger. 


(very 


1771. 


1771. 
1797. 


Ogborne. 
Burke. 


1  A  celebrated  beauty.  See  pages  141,  142.  The  portrait  was  bought  at 
Lord  Ely's  sale  at  Messrs.  Christie's,  1889. 

2  Lord  Exeter  was  a  friend  and  admirer  of  Angelica  ;  he  ordered  pictures 
from  her  by  the  yard.  Waagen  in  his  Treasures  of  Art"  says  that  he 
had  seen  no  seat  which  afforded  so  completely  a  view  of  the  taste  in  art, 
which  prevailed  in  England  in  the  17th  and  i8th  century,  as  that  of  Lord 
E^jceter, 


Appendix. 


371 


ORIGINAL  OR  (when 
known)  present  owner. 


Exeter,  Marquis  of. 
( Continued ) 


Esterhazy,  Prince 
Nicolas. 


Fitzherbert,  Sir  Wil- 
liam. 

Florence,  the  Uffizi 

Gallery. 
Frankfort  Gallery. 
Forbes,  Esq. 


SUBJECT. 


Firrao,  Cardinal. 


Garrick  Club. 


11.  Cleopatra  decorating  Mark 
Antony's  tomb. 

12.  David  Garrick. 

13.  Lady  Townshend  and  her 
infant  son. 

14.  Mrs.  Bates.* 

1.  Death  of  Alcestis. 

2.  Pyrrhus  presenting  his  foster- 
brother  to  King  Glaucus.  3 
feet  high  2\  wide. 

Alleyne  Fitzherbert,  Portrait 
of. 

Her  own  portrait. 

Winckelmann,  Portrait  of. 

1.  Religion  with  all  her  lovely 
train. 

2.  The  departure  of  llagar  and 
Ishmael  from  the  tents  of 
Abraham. 

3.  Cephalus  and  Procris, 

4.  The  Blessed  Mary  watering  a 
lily. 

5.  The  Discovery  of  Achilles  by 
Ulysses  in  the  Court  of  King 
lyycomedes,  disguised  as  a 
Virgin. 

6.  Angelica  between  the  Rival 
Arts  of  Music  and  Painting. 
44  X  32.^  A  present  from  the 
artist. 

Portrait  of.  An  allegorical  pic- 
ture. 


Mrs.  Hartley,  portrait  of. 


ENGRAVER. 


J.  C.  Leclerc. 
Vienna, 


Bartolozzi. 


Scorodomoflf. 


1799. 


*  Miss  Harrod,  afterwards  Mrs.  Bates,  a  celebrated  singer,  seated  in  a 
landscape,  holding  a  lyre  and  roll  of  music.  Sold  in  the  sale  of  the  Marquis 
of  Exeter's  pictures  at  Messrs.  Christie's,  June  9th,  1888.  See  Supplement 
under  M. 

Barry,  R.A.,  passed  the  highest  encomiums  upon  all  these  pictures, 
especially  the  last,  which  is  a  reminiscence  of  ihe  strugi^le  she  had  once  gone 
through.  See  p.  21.  He  declared  that  he  envied  Music  the  squeeze  she 
received,  "  for,"  said  he,  "the  impression  is  actually  imprinted  on  her  hand.** 

B  b  2 


3/2 


Appendix. 


ORIGINAL  OR  (when 

known)  PRESENT  OWNER. 


Grimani,  Marchese,  a 
beautiful  Venetian 
lady,  of  the  family 
of  Conaro. 

Gartaut,  Monseig- 
neur. 

Hamilton,  Sir 
William. 


Hampe,  John  Henry j 

M.D. 
Hampton  Court 

Palace. 
Hervey,  Lord.^ 


Herzen,  Cardinal. 
Hoare,  Sir  Francis, 
of  Siourhead. 


Hoare,  of  Wavendon 
Manor. 


Holstein-Beck. 
Home,  Earl  of, 
Houldsworth,  Col. 


SUBJECT. 


ENGRAVER. 


Portrait  ot. 


Portrait  of  himself. 


Emma,  Lady  Hamilton,  por- 
trait of,  as  the  Comic  Muse. 

Emma,  Lady  Hamilton,  as  a 
Bacchante  1  (only  the  head). 

Portrait  of  himself. 

Duchess  of  Brunswick,  portrait 
of,  full  length. 

Lady  Hervey,  portrait  of. 

Georgiana,  Duchess  of  Devon- 
shire, portrait  of,  in  a  v^^hite 
hat.3 

St  Joseph  of  Cupertino. 
Francis  Hoare,  portrait  of,  full 
length. 

Portrait  of  a  lady  in  a  Greek 
dress.'* 

Allegorical  picture  of  Penelope 
sacrificing  to  Minerva  to  ob 
tain  the  safe  return  of  Tele 
machus.^ 

Large  family  group. 


Angelica    Kauffmann,  R.A., 

portrait  of. 
Two  classical  pictures. 
Portrait  of  AngelicaKauffmann.^ 


1781. 


R.  Morghen,  1797. 
Fine  print  of  this 
in  British  Museum. 


Burke. 

head. 
1767. 


A  noble 


Raphael  Morghen. 
Print    in  British 
Museum. 


^  Sold  at  Sir  William  Hamilton's  sale,  1801,  for  £t^2  \os. 
'  Lord  Hervey  was  the  eldest  son  of  the  famous  Bishop  of  Derry,  Marquis 
of  Bristol. 

^  This  portrait  came  into  the  possession  of  Lord  Howard  de  Walden  from 
the  Herveys;  it  was  sold  by  the  late  lord  in  1869,  at  Messrs.  Phillips's,  for 
For  purchaser  see  "  S.'* 

*  This  picture  has  been  sold. 

*  Penelope  is  the  portrait  of  the  second  wife  of  Sir  Richard  Hoare,  nee 
Acland,  a  lady  of  remarkable  beauty,  between  whom  and  Angelica  a  great 
intimacy  existed. 

^  Sold  at  Messrs.  Christie's,  1888,  for  ;[i"ii5,  see  Bowring. 


Appendix. 


373 


ORIGINAL  OR  (when 
known)  present  owner. 


Husupoff,  Prince. 


Hayne,  C.  Scale, 
Esq.,  M.P.,  Bel- 
grave  Street,  S.W. 

Illustrations  for 
books  : — 
I.  Bell's** Poet's.'' 


II.  Taylor's 
**  Moral  Em- 
blems." 


III.  In  "Angeli- 
ca's Library."  ^ 


IV.  Various  pub- 
lications. 


SUBJECT. 


Venus,  on  a  couch,  counselling 
Helen  to  fly  with  Paris,  whom 
Cupid  leads  by  the  hand  into 
the  room. 

Ovid  in  his  old  age  writing 
verses,  while  Cupid,  behind 
him,  draws  his  bow. 

Telemachus  at  the  court  of 
Sparta.  One  of  her  best  pic- 
tures. 


1.  Vignette  Frontispiece, 

2.  Churchill's  Poems. 

3.  Collins's  Eclogues. 

4.  1st  volume,  page  54,  Savnge. 

5.  Hammond's  Love  Elegies. 

6.  Love  Elegies. 

7.  Mallet,  Canto  I.,  verse  268, 

8.  Chaucer,  vol.  iv. 

1.  Fortitude. 

2.  Hope. 

3.  Justice. 

4.  Mercy  and  Truth. 

5.  Patience. 

6.  Perseverance. 
Prudence. 
Omnia  Vanitas. 
Temperance. 

Wisdom. 


7. 


9. 
10. 

11.  There's  a  slip'twixt  me  and 
Death. 

12.  Instruction. 

13.  Simplicity. 

F 1  o  r  a — Fro  Jiiis piece. 
La  Bergere  de>;  Alpes. 
Gualtherius  and  Griiclda  (from 

Marmontel). 
A  shipwreck.     A  frontispiece 

for  Thomson's  Seasons. 
Silence    and   the  Shepherd's 

moral. 

Vignette,  a  Muse,  for  a  volume 
of  poems. 


ENGRAVER, 


Bartolozzi,  &c. 


Ryland,  &c. 


Bartolozzi,  1778, 


"  Angehca's  Library,  or  a  Present  from  Parents  and  Guardians,"  price  one 
guinea,  published  by  Hamilton,  charmingly  illustrated  by  Angelica  Kauffmann 
and  H.  W.  Bunbury,    The  book  still  commands  a  good  price  at  book  sales. 


374 


Appendix, 


ORIGINAL  OR  (when 
known)  present  owner. 


Johnston,  Captain 
Frederick  Erskine, 
Gloucester  Place* 


Josepoff,  Prince. 

Klopstock. 

Knight,  John. 
Kimber,  Arthur,  Esq. 


Leven  and  Melville, 

Earl  of. 
Lyte,  fl.,  Esq. 

Loretto,  Holy  House. 

Lothian,  Marquis  of. 

London : — 

Royal  Academy, 
DiplomaGallery. 

National  Portrait 
Gallery. 


National  Gallery. 


SUBJECT. 


1.  Hon.  Mrs.  Damer,  por- 
trait of.  Graceful  and  charm- 
ing. 

2.  Earl  and  Countess  of  Derby, 
portraits  of. 

Augustus  and  Cleopatra. 

Virgil  reading  the  Eneid  to 
Augustus  and  Octavia. 

Samma  at  Benoni's  Grave. 
(Presented  by  the  artist  to 
the  author  of  the  Messiah^ 

Penelope. 

Venus  and  Cupid. 

Venus  attired  by  the  Graces.^ 


Clio  and  Angelica.- 
Holy  Family.^ 

Venus  v^ith  the  corpse  of 
Adonis  on  her  knee.'* 

Mosaic  of  the  Blessed  Child 
w^atering  the  lily. 

Portrait  of  Elizabeth,  Mar- 
chioness of  Lothian.^ 

Design,  large  oval ;  one  of  the 
four  removed  from  Somerset 
House. 

Portrait  of  herself,  oval,  half 
length,  in  a  white  dress  ^\\\\ 
yellow  scarf.  She  rests  her 
right  hand,  holding  a  porte- 
crayon,  on  a  portfolio,  the 
other,  without  a  ring,  is  raised 
to  her  breast.^ 

Reliiri  on,  bequeathed  by  Mr. 
Forbes^ 


ENGRAVER. 


1769. 

Harding. 


Bartolozzi. 


^  This  large  oval  was  bought  at  the  Rushout  sale  for  ;^'53S« 

^  This  large  oval  was  bought  at  the  Rushout  sale,  in  1878,  for  ;^II0. 

8  Bought  at  Rushout  sale,  1878,  £<Jo. 

*  Bought  at  Messrs.  Christie's,  1792,  by  M.  White,  for 

*  Exhibited  at  R.  A.  Exhibition  of  1887. 
^  See  Forbes. 

'  Bought  from  Mr.  Graves,  of  Pall  Mall,  for  ;^fio* 


Appendix. 


3?5 


ORIGINAL  OR  (when 
known)  present  owner. 


London  ( Contiimed. ) 
South  Kensington 
Museum. 


MacDonald,  Colonel. 

Martinenghi,  Count 

of  Brescia. 
Massereene,  Viscount, 

Antrim  Castle. 
Mendip,  Lady. 
Medley,  Esq. 

Milan  (Casa  Tivai- 
luzio.) 


Miranda,  Duke  of. 

Montfort  Castle. 
Morley,  Earl  of. 


SUBJECT. 


1.  Emma,  Lady  Hamilton.^ 

2.  CupidVpastime.  Small  oval, 
on  copper. 

3.  Ditto.  Small  oval  on  copper. 


Portrait  of,  in  national  cos- 
tume. 

Altar  piece — John  the  Bapti  t. 

Lord    Ferrard    and    his  son, 

portraits  of. 
Magdalen.^ 

Politicians  quarrelling  over  their 
cards.-* 

1.  Duchess  of  Massa-Carrara, 
portrait  of. 

2.  Portrait  of  Ferdinand,  King 
of  Naples. 

1.  Portrait  of  his  youngest 
daughter  in  a  peasant's  dress. 

2.  Historical  picture  (subject 
unknown). 

Portraits  of  Count  and  Countess 
of  Montfort  and  the  different 
members  of  the  family. 

1.  Portrait  of  Sir  Joshua  Rey- 
nolds. 

2.  Ulysses  discovering  Achilles 
in  the  disguise  of  a  Virgin. 

3.  Penelope  hanging  up  the 
bow  of  Ulysses. 


ENGRAVER. 


1792. 


1800. 


I7S4. 


1757. 

Bond. 
Ryland. 


^  Angelica  painted  Lady  Hamilton  tuuice^  once  as  a  Bacchante,  a  failure, 
and  once  as  the  Comic  Muse,  holding  a  mask  in  her  hand.  This  last  was  en- 
graved by  Morghen^  and  is  in  the  collection  of  the  B.  ^L  Morghen  made 
some  alteration  in  the  picture,  at  which  Angelica  was  so  much  displeased 
that  she  would  not  allow  her  own  or  Lady  Hamilton's  name  to  be  placed  un- 
derneath. It  is,  however,  far  superior  to  the  Bacchante,  a  drawing  of  which 
is  in  the  British  Museum. 

"  Now  in  possession  of  Lindo  Mayers,  Saville  Row. 

2  This  picture  was  sold  at  Messrs.  Christie's  in  1888,  for  ^84,  to-Mr.  Frick* 
cnham. 


3/6 


Appendix. 


ORIGINAL  OR  (when 

known)  PRESENT  OWNER. 


Morley,  Earl  of. 
^  Continued, ) 


)ntgomery,  Lord. 
Miinster,  Bishop  of. 


Munich   Neue  Pina- 
kothek. 


Schleissheim  Gal- 
lery. 

Maughan,  Rev.  G., 
East  Kirkby  Vicar- 
rge,  Spilsby. 


SUBJECT. 


4.  Venus  meeting  Eneas  at  Car- 
thage.^ 

5.  Hector  taking  leave  of  An- 
dromache. 

6.  Elfrida's  interview  with 
King  Edgar  after  her  marriage 
with  Athelwold. 

7.  Rowena  presenting  a  cup  to 
Vortigern. 

8.  A  woman  in  Neapolitan 
costume.^ 

9.  Portrait  of  herself  playing 
the  guitar. 

10.  Edmund  Bastard,  Esq., 
portrait  of. 

11.  Hebe,  on  copper.  A  small 
copy  of  a  large  picture  by 
Sir  Joshua  Reynolds,  of 
Miss  Meyer,  daughter  to  J. 
Meyer. 

12.  Crayon  copy  of  the  Magda- 
len, of  Correggio. 

Portrait  of  himself. 

1.  The  Annunciation. 

2.  Christ  calling  the  little 
children  to  Him. 

1.  Angelica  Kaufifmann,  por- 
trait of. 

2.  Christ  and  the  woman  of 
Samaria  at  the  well.  46 
X  55  inches, 

3.  Portrait  of  the  Palatinate 
Prince  of  Bavaria  in  the  cos- 
tume of  a  Knight  of  St. 
Hubert. 

4.  Portrait  of  Prince  Nicolas 
Esterhazy.    3  feet  high. 

I.  Portrait  of  Louis  I.  of  Ba- 
varia. 

Meeting  of  Edward  IV.  with 
Lady  Elizabeth  Grey,  when 
she  implores  him  to  restore 


ENGRAVER. 


Watson. 

Ryland.  After  his 
death  it  was  finish- 
ed by  Sharp  for 
the  widow. 


1800. 


1790. 


^  A  replica  of  this  painted  for  Colonel  Vereker.    See  V. 
*  2  to  8  were    painted  expressly  for   Saltram,  Lord  Morley's  seat,  in 
Devonshire. 


Appendix. 


377 


ORIGINAL  OR  (when 
known)  present  owner. 


SUPJECT. 


ENGRAVER. 


lier  husband's  lands  to  her 
son.    7x4^  feet. 


Naples,  Capo 
Monte  Gallery. 


di 


Nollekens,  J.,  R.A. 


Paris,  the  Louvre. 

Parma,  Archduchess 
of. 

Panin,  His  Excel- 
lency Comte  de. 

Pappasava,  Count. 

Pepper,  W.,  Esq., 
presumably  of 
Ballygarth,  Ireland. 

Pezzoli,  Count. 

Philadelphia,  Penn- 
sylvania Gallery. 


Pius  VI.,  Pope. 


Poland,  Stanislaus, 
King  of. 


1.  Large  family  group  of  the 
Royal  family. 

2.  Portrait  of  Ferdinand,  King 
of  Naples. 

3.  Duchess  of  Corigiiano  and 
child. 

4.  Portrait  of  Princess  Maria 
Teresa. 

5.  Portrait  of  Monsignore  Gac- 
tano. 

6.  Portrait  of  Dr.  Cirillo  ^ 
Mrs.  Nollekens,  portrait  of,  as 

Innocence  with  Doves. 


Portrait  of  the   Baroness  von 

Kruder  and  child. 
Portrait  of  the  Archduchess. 

Achilles  discovered  by  Ulysses 

in  the  disguise  of  a  Virgin. 
Portrait  of  himself  and  brother. 
Portrait  of  himself  and  brother. 


A  Magdalen,  on  copper. 

1.  Virtue  directed  by  Prudence 
to  withstand  the  solicitations 
of  Folly. 

2.  Portrait  of  herself. 
Joachim  and  St.  Anne  with  the 

Blessed  Child  Mary  watering 
a  lily  for  the  Holy  House  of 
Loretto. 

1.  Virgil  reading  the  Eneid  to 
Octavia,  and  companion  pic- 
ture of 

2.  Augustus  reading:  the  verses 
upon  the  death  of  Marcellus. 


1783. 


Boydell,  1 782,  after 
Scorodomoflf. 


17S9. 


^  A  celebrated  Neapolitan  physician.  She  also  painted  the  death  of 
Cleopatra  for  the  Marchese  del  la  Gambuca, 


378 


Appendix, 


ORIGINAL  OR  (when 
known)  present  owner. 


SUBJECT. 


ENGRAVER. 


Poniatowski,  Count. 


Portarlin^ton,  Earl 
of. 


Portman,  Viscount. 


Powis,  Earl  of. 


Redshaw,  J, 
Rezzonico,  Cardinal. 

Richmond  and 
Gordon,  Duke  of. 
At  Goodwood. 

Historical : — 
At  Gordon  Castle. 


1.  Cornelia,  Mother  of  the 
Gracchi,  showing  her  children. 

2.  Brutus  condemning  his  Son  to 
death. 

3.  Portrait  of  the  Count  in  an 
allegorical  picture. 

4.  Portrait  of  herself.  ^ 

1.  Portrait  of  Lady  Caroline 
Darner.    45  x  47. 

2.  Portrait  of  Lord  Milton. 

3.  Portraits  of  Duke  and 
Duchess  of  Dorset. 

4.  Portrait  of  Angelica. 
Two  **  Sopra  Portas  "  of 

1.  Scenes  from  *'King  Lear,'' 
including  a  fine  picture  of 
Cordelia's  death. 

2.  The  death  of  Clorinda. 
Portrait  of  the  Hon.  Charlotte 

Clive. 

Death  of  Procris. 

Historical  portrait  of  himself,  as 

appearing  before  the  Senate. 
Mary,  wife   of  3rd   Duke  of 

Richmond.  Small  full  length. 


1.  Alexander,  4th  Duke  of  Gor- 
don, half  length. 

2.  Jean  Maxwell,  wife  of  4th 
Duke  of  Gordon,  half  length. 

3.  Venus  and  Adonis.  Copy 
from  Titian. 

4.  Danae.    Copy  from  Titian. 

5.  La  Madonna  della  Seggiola. 
Copy  from  Raphael. 

6.  St.  Cecilia  (the  Cumean  Sibyl). 
Copy  from  Domenichino. 

7.  Sibylla  Persica.    Copy  from 
Guercino. 

8.  Abraham  and  Hagar.  Copy 
from  Guercino. 

9.  Joseph  and  Potiphar's  wife. 
Copy  from  Guercino. 


Fielding,  1767. 
Ryland. 

1772. 
1772. 


^  ^ce  Northwick— Supplement  to  Catalogue. 


Appendix. 


379 


ORIGINAL  OR  (when 
known)  present  owner. 


Richmond,  and 
Gordon,  Duke  of. 
{Continued.) 


Robinson,  Richard, 
Archbishop  of  Ar- 
magh. 

Roth,  Cardinal, 
Prince  Bishop  of 
Constanz. 

Rosebery,  Earl  of.^ 


Rome,  Academy  of 

St.  Luke. 
Rutland,    Duke  of, 

Belvoir  Castle."* 

Russia,  Count  du 
Nord,  afterwards 
Emperor  Paul  I. 


Russia,  Catherine  IT., 
Empress. 


SUBJECT. 


10.  St.   Paul  rebuking  Peter. 
Copy  from  Guido. 

11.  Salome.   Copy  from  Guido. 

12.  Dido.    Copy  from  Guido. 

13.  Ulysses  and  Calypso. 
Portrait  of  himself. 


Portrait  of  himself. 


1.  Portrait  of  Lady  Northvvick  - 
and  child.  Large  oval,  50 
X  42. 

2.  La  Iiergcre  des  Alpes.-* 

3.  Gualthcrius  and  Griselda. 
(Oval.) 

4.  Cupids  at  play.  (Small  ovals, 
pair.) 

5.  Horace  and  Virgil.  (Small 
ovals,  pair.) 

6.  Lavinia  and  Palemon. 

7.  Dnmon  and  Musidora. 
Hope,  a  portrait  of  herself. 

The  death  of  the  stag.  26  x 
36.  This  picture  hangs  in 
the  Queen's  sitting-room. 

1.  Leonardo  da  Vinci  expiring 
in  the  arms  of  Francis  L 

2.  Portrait  of  the  Countess  du 
Nord,  afterwards  Empress  of 
Russia. 

1.  The  birth  of  Servius  Tul- 
lius. 

2.  Achilles  discovered  by  Ulysses 
in  the  disguise  of  a  Virgin  at 


ENGRAVER. 


Bartolozzi. 
Dickinson,  1787. 


Ryland. 


C  ScorodomofT. 
\  Ryland. 


^  Lord  Rosebery  bought  these  pictures  at  the  Bowles-Rushout  sale  in 
1879. 

*  Rebecca,  Lady  North  wick,  was  sister  to  Mr.  George  Bowles.  Her  hus- 
band, Sir  John  Rushout,  was  raised  to  the  peerage  as  Baron  North  wick  in 
1797.  Her  daughters,  the  Hon.  Anne,  and  Harriet,  Lady  Cockerell,  were 
Mr.  Bowles'  nieces. 

3  Subject  taken  from  Marmontel's  story. 

^  For  additional  pictures  at  Belvoir  Castle,  see  Supplement  to  Catalogue. 


38o 


Appendix. 


ORIGINAL  OR  (when 
known)  present  owner. 


SUBJECT. 


ENGRAVER. 


Russia,  Catherine  II., 
Empress.  {Con- 
timied. ) 

Ryland,  W. 


Sayer,  R.,  Esq. 
S  chwartzenberg, 
Church  of. 


Emilia  Seckingen, 
Hochwohlge- 
borne,  Kammer 
Fraulein,  or  lady- 
in-waiting  to  her 
Highness,  the  wife 
of  the  Churfurst  of 
Bavaria.  She 
wears  the  orders 
of  St.  Elizabeth. 

Scantlebury,  Esq. 


S:ott,  Sir  B. 


St.  Petersburg 

Academy. 
St.  Petersburg, 

Hermitage. 


Sussex,  Duke  of. 
Spencer,  Earl. 


the 


the  court  of  King  Lyco- 
medes.^ 

Cymon  and  Iphigenia. 


Mirror  of  Venus. 

1.  Fresco    of    the  Twelve 
Apostles,  after  Piazzetta. 

2.  Altar  piece,  the  coronation  of 
the  Blessed  Virgin. 

3.  Her  own  portrait  in  the  na- 
tional dress,  bequeathed. 

Portrait  of  herself.    3  feet  in 
height,  2\  in  width. 


1,  Duchess  of  Devonshire  in  a 
white  hat.^ 

2.  Cupids  at  play. 

1.  Euphrosyne  disarming  Cupid. ^ 

2.  Cupid  and  Aglaia."^ 

Thetis  bathing  Achilles  in  the 
Styx. 

1.  The  Monk  of  '  Calais  and 
Juliette.       (From  Sterne's 

Sentimental  Journey.") 

2.  The  adieux  of  Abelard  and 
Eloisa, 

Portrait  of  himself,  with  his 
dog. 

I.  Family  group,  including  por- 
traits of  Viscount  Althorp, 
with   his  sisters,  Georgiana, 


W.  W.  Ryland,  1782. 

Trotter,  1757. 
1799. 

Sintzenich. 


1797. 
1771. 


^  Angelica  used  this  subject  several  times,  treating  it  differently.   The  story 
is  always  that  of  Achilles  disguised  as  a  girl,  and  discovered  by  Ulysses, 
^  Bought  in  1869  from  Lord  Howard  de  Walden,  for  £\(^2, 
^  and  ^  Bought  at  the  Rushout  sale. 


Appendix. 


381 


ORIGINAL  OR  (when 
known)  present  owner. 


Spencer,  Earl. 
{^Continued.) 


Sommariva,  Herr  (of 

Milan). 
Solms,  Countess  of. 

Stokes,  T.,  Esq. 
Shepherd,  Esq. 
Strickland,  Mrs., 
^Cokethorpe  House. 
Schopfer. 

Tacconi,  Marquis. 
Taylor,  G.  W.,  M.P. 


SUBJECT. 


Thornton,  Godfrey, 
Esq. 


afterwards  Duchess  of  Devon- 
shire, and  Henrietta,  after- 
wards Countess  of  Bess- 
borough.^ 

2.  Margaret,       Countess  of 
Lucan. 

3.  Portrait  of  Angelica,  a  pre- 
sent. 

4.  Portrait  of  Lord  and  Lady 
Spencer. 

Cleopatra  and  Augustus. 

The  Power  of  Love,  a  scene 

from  Ossian's  poems. 
Angelica  Kauffmann,  portrait  of. 
Coriolanus  going  into  exile. 
Rival  arts.  Painting  and  Music. 

Ditto,  a  present  from  Angelica.-'' 

Mary,  Mother  of  God,  with  the 
child  and  two  angels. 

1.  Ariadne  and  Penelope. 

2.  Palemon  and  Lavinia. 

3.  A  small  head  of  Laura. 

4.  Eurydice.  ")  4 

5.  Cordelia,  j 

6.  Celadon  and  Amelia  struck 
by  lightning. 

"  From  his  void  embrace. 
Mysterious  Heaven  !  that  moment 

to  the  ground, 
A  blackened  corpse,  was  struck  the 

beauteous  maid." — Seasons. 

Theseus    finding    his  father's 
sword  and  sandals. 


ENGRAVER. 


1767. 


Ogborne,  1799. 
Bartolozzi,  1802. 


Bartolozzi. 

Bartolozzi. 
Bartolozzi. 


Tomkins. 


1  This  portrait  is  at  Althorp,  Lord  Spencer's  seat.  It  is  let  into  a 
panel  over  the  chimney-piece.  The  grouping  is  excellent.  The  two  ladie> 
are  seated  in  a  garden;  their  brother  is  standing  before  them.  It  is  mo  t 
natural. 

'  Cokethorpe  House  now  belongs  to  Mr.  Clement  Cottrell  Dormer.  The 
picture  is  very  beautiful.    Music  is  seated. 

*  This  was  a  picture  of  herself  between  Music  and  Painting.  Schopfer 
drew  the  design  with  chalk  upon  stone  and  sent  it  to  Rome,  and  in  this  way 
Senefelder's  discovery  was  made  known  in  Italy. 

*  Sold  at  Messrs.  Christie's,  1832. 


382 


Appendix. 


ORIGINAL  OR  (when 
known)  present  owner. 


Townshend,  Marquis. 


Vereker,  Colonel,  the 
Hon.  C.  SJ 

Vernon,  Sir  Edward. 


Vienna,  Belvedere 
Gallery. 


Volpato,  Giovanni. 


Walch,  Herr,  Dorn- 
birn,  Bregenz. 


SUBJECT. 


Large  family  group  of  eight 
children,  the  Marquis  hold- 
ing the  youngest  in  his  arms. 

/'  I.  Armida  putting    on  her 

)     armour.  (Tasso.) 

1  2.  Venus   showing  Carthage 

C    to  Eneas  and  Achates. 

1.  Electra  and  Chrysothemus, 
from  vSophocles. 

2.  Peleus  and  Thetis. 

1.  Thusnelda  receiving  Armi- 
nius  after  the  battle  with  Varus. 

2.  The  companion  picture  of 
yEneas  paying  funeral  honours 
to  the  corpse  of  Pallas.^ 

Portrait  of  himself. 
Portrait  of  his   daughter  and 
daughter-in-law. 

Portrait  of  Angelica.^ 

Portrait  of  John  Joseph  Kauff- 


ENGRAVER. 


Macklin's  Gallery. 


'  For  present  owner,  see  Sandeman,  in  Supplement  Catalogue. 

2  These  enormous  pictures  were  a  commission  from  the  Emperor  Joseph  II., 
and  on  receiving  them  he  wrote  to  Cardinal  Herzen,^  his  plenipotentiary  at 
Rome:  *'As  a  token  of  my  gratitude  I  join  to  this  letter  a  snuff-box  and 
ornament  with  a  cypher,  which  Your  Eminence  will  have  the  goodness  to 
present  to  Angelica.  I  desire  you  to  inform  her  that  the  two  works  are 
placed  in  the  Imperial  collection,  for  I  wish  that,  as  well  as  myself,  all  my 
subjects  may  admire  her  talents.'* 

3  A  writer  in  the  German  Kimstbild  (a  magazine  on  the  lines  of  the  Art 
Journal)  states,  that  in  making  a  tour  through  the  Bregenz,  he  chanced  at 
Dornbirn  to  meet  a  certain  Herr  Walch,  the  drawing-master  of  the  Realschule 
in  the  vi]Jage. 

I  was,*'  says  the  writer,  ''not  a  little  surprised  to  find  that  my  acquaint- 
ance turns  out  to  be  a, descendant  of  Angelica  Kauffmann's  family,  and  the 
heir  to  her  belongings,  which,  after  her  death,  in  1807,  had  been  brought  to 
Schwartzenberg.  Plerr  Walch  has  many  interesting  relics,  notably  a  charming 
portrait  of  the  artist,  also  the  portrait  of  her  father,  together  with  different 
works  of  art  and  curiosities  which  she  collected  in  England  and  elsewhere. 


*  Cardinal  Herzen'gave  Angelica  a  commission  for  a  picture  of  St.  Joseph, 
of  Cupertino.  She  presented  it  to  him  as  a  present ;  upon  which  his 
Eminence  sent  her  a  splendid  silver  basin  and  some  excellent  coffee  from  the 
Levant.' — Zucchi  MS,    (See  p.  372  ) 


Appendix. 


383 


ORIGINAL  OR  (when 
known)  present  owner. 


Waldeck,  Prince  of. 


Waldegrave,  Earl. 


Walker, 

Wells,  Esq. 
West,  Mrs. 

Woodhouse,  Esq. 


Zamoyski. 


SUBJECT. 


Allegorical  painting  of  the  first 
meeting  of  Leander  with 
Hero  :  the  priestess  of  Venus, 
surrounded  by  her  vestal 
virgins,  is  offering  sacrifice  to 
Adonis.  Hero  is  the  portrait 
of  Prince  Waldeck's  affianced 
bride,  who  was  then  in  Rome. 

1.  Prince  PVederick  of 
Gloucester,  an  infant. 

2.  Princess  Sophia 
Gloucester,  an  infant. 

1.  Virgil  asleep.^ 

2,  Horace  dreams. 
Griselda.^ 

Eurydice  and  Ariadne  ^  d 
ingthe  flight  of  Theseus. 

1.  Rural  sports. 

2.  Griselda. 


Large  family  group.^ 


of 


plor- 


ENGRAVER. 


Bartolozzi. 
Bartolozzi. 

Bartolozzi. 


and  divers  presents  made  to  her  by  friends  and  admirers."    For  the  purpose 
of  this  biography,  Joseph  Baer,  the  excellent  bookseller  at  Frankfort,  com- 
municated with  Herr  Walch,  but  received  no  reply. 
^  Bought  at  Messrs.  Christie's  in  1833  for  £iTZ' 

2  Sold  in  1888  by  Messrs.  Christie's  to  Messrs.  Agnew,  of  Bond  Street,  for 
£220  lOS, 
^  Sold  1832. 

^  Count  Andre  Zamoyski,  of  Poland,  husband  of  Countess  Constance 
Zamoyski.  Alexandre  Zamoyski,  eldest  son.  Mademoiselle  Anetta  Zamoyski. 
Stanislaus  Zamoyski,  youngest  son.  L'Abbe  Stanislaus,  the  Preceptor. 
*'  A  large  family  group,  in  which  will  be  represented  Count  'Andre  de  Za- 
moyski, seated,  showing  his  two  sons  and  his  daughter  the  marble  bust  of  his 
grandfather,  who  was  so  celebrated  in. Poland — that  his  children  may  emulate 
the  example  of  this  hero.  The  figures  are  to  be  full  length,  and  to  be  attired 
in  the  costume  of  the  ancient  Romans.  The  bust  of  the  hero  is  to  be  on  a 
pedestal,  and  a  country  landscape  in  tlie  background. 

The  picture  to  be  painted  for  600  (zecchini)  Roman,  as  a;;reed  on. 

The  heads  of  the  four  sitters  are  already  painted  on  small  canvas.  They 
are  to  be  copied  and  painted  into  the  large  picture,  which  is  to  be  finished 
May  12,  1791. 

*'  Countess  Constance  Zamoyski  has  paid  in  advance  300  zecchini,  being 
Iialfofthc  agreement  for  said  picture,  which  is  to  be  ])aintcd  by  Angelica 
Kauffmann  exactly  in  the  manner  she  has  already  painted  the  heads.'* — 
Extract  from  Private  Memoirs  by  Antonio  Zua  hi,  lent  by  Fred,  Hendriks^  Esq, 


384 


A ppendix. 


ORIGINAL  OR  (when 
known)  present  ownkr» 

SUBJECT. 

ENGRAVER. 

Zamoyski. 

{Continued.) 
Zelada,  Cardinal. 
Zucchi,   Family  of, 

Venice. 
Zurich. 

A  handsome  child  painted  as 

the  God  of  Love. 
Nathan  reproaching  David. 
A  Madonna  touching  a  sleeping 

child  and  laying  a  wreath  of 

flowers  upon  his  head. 
Portraits  of  Antonio,  Giuseppe, 

and  Francesco  Zucchi. 
Portrait  of  Winckelmann. 

Porporati. 

SUBJECTS  OF   PICTURES  WHOSE 
OWNERS  ARE  UNKNOWN 
TO  COMPILER. 


SUBJECT. 

ENGRAVER. 

Arcadia.^ 

2. 

Penelope  weeping  over  the  bow  of  Ulysses. 

Delatre. 

3- 

Penelope  taking  down  the  bow  of  Ulysses. 

Ryder. 

4- 

Messalina  sacrificing  to  \  enus  and  Cupid  before 
she  obtained  liberty  for  the  Roman  ladies  to 

Burke. 

have  several  husbands. 

5- 

Andromache  weeping  over  the  ashes  of  Hector. 

Burke,  Ryland. 

6. 

A  son  newly  married  introducing  his  bride  to  his 

Morghen.    (Very  fine 

widowed  mother. 

engraving,  liritish 
Museum  ) 

7. 

Alcestis  sacrificing  her  life  to  save  that  of  her 

Kininger. 

husband. 

8.  A  lady  contemplating  her  own  picture. 

9. 

A  group  of  royal  children. 

Marcuard. 

lO. 

An  English  lady  and  child. 

1779. 

II. 

An  English  lady  as  Psyche. 

12. 

Portrait  of  a  lady  playing  the  harp. 

1778. 

Portrait  of  a  gentleman. 

1779- 

14. 

Portrait  of  a  group  of  children  as  Autumn. 

1788. 

15- 

Portrait  of  a  gentleman. 

1765. 

16. 

Portrait  of  a  lady. 

A  nobleman's  children. 

17. 

1799. 

18.  A  gentleman  (full  length). 

1777- 

19. 

Portrait  of  a  lady  in  Eastern  dress. 

1775- 

20. 

Portrait  of  lady  (full  length). 

1772. 

21. 

Erminia  finding  Tancred  asleep. 

Delatre. 

^  This  was  the  first  picture  exhibited  by  Angelica  after  she  came  to  London, 
1766.    Mr.  Goldie  has  the  original  sketch,    bee  page  396. 


C  C 


386 


Appendix. 


ST'BJECT. 


Eleanor  sucking  the  poison  from  the  wound  of 
Edward  I.    From  Rapin's  history. 


23.  Achilles  lamenting  the  death  of  Patroclus. 

24.  Venus  in  her  chariot.    Designed  for  a  ceiling  ; 

and  repeated  several  times. 

25.  The  flight  of  Paris  and  Helen. 

26.  A  sacrifice  to  Pan. 

27.  Aristides  requested  to  sign  the  ostracism  for  his 

own  banishment  by  an  illiterate  citizen. 

28.  Penelope  awakened  by  Euryclea,  with  the  news 

of  the  return  of  Ulysses. 

29.  Winter. 

30.  Cupid  reposing. 

31.  Modesty  embracing  virtuous  love. 

32.  Madonna  and  Child. 

33.  Andromache  fainting  at  the  sight  of  ^neas. 

34.  Paris  and  Helen  directing  Cupid  to  inflame  their 

hearts. 

35.  Calypso  calling  Heaven  to  witness  her  affection 

for  Ulysses. 

36.  Venus  presenting  Helen  to  Paris. 

37.  Juno  borrowing  the  Cestus  of  Venus. 

38.  Sylvia  overcome  by  Daphne. 

39.  Werter  and  Charlotte. 

40.  Werter. 

41.  The  power  of  music. 

42.  Lady  contemplating  her  lover's  picture. 

43.  Picturesque  amusements. 

44.  Tancred  and  Clorinda. 

45.  Oval  from  Anacreon. 

46.  "  L' Amour  dort." 

47.  Venus  crowned  by  Cupid. 

48.  Temperance. 

49.  History. 

50.  Poetry. 

51.  Ulysses  conducted   by  Calypso   to   the  forest 

where  he  can  cut  the  trees  to  build  his  raft. 

52.  Postumio,    Consul  of   Rome,    examining  the 

Courtesan  Ispalia  in  the  presence  of  his  mother, 
as  to  the  Feasts  of  Bacchus. 

53.  Erminia. 


ENGRAVER. 


aged 
to  the 


Pariset  and  Mile. 
Bareuille,  Paris,  re- 
produced by  W. 
Ryland. 

Ryland. 

Rose  Lenoir, 
14,  daughter 
printseller. 

Ryland. 

Ryland. 

W.  Dickinson.  (A 
very  fine  engraving, 
B.  M.) 

Burke. 

Ryland. 


1780. 


Ryland. 
Ryland. 
Tomkins. 


Hogg. 

Scorodomorf. 
Bettelini. 


Tomkins. 
Marcuard. 


Bartolozzi. 

A.    K.    and  Joseph 

Zucchi. 
Delatre. 


Delatre. 


Appendix. 


SUBJECT. 


ENGRAVER. 


56. 

58. 

60. 
61. 
62. 

63" 
64. 
65. 
66. 
67. 


68. 


69. 
70. 

71. 

72. 

73^ 
74. 

75- 


Conjugal  peace.    (Two  ducks  in  a  basket.) 
Paris  and  CEnone  carving  their  names  on  a  tree. 
Diana  and  her  nymphs. 

Papirius  Praetextatus  revealing  to  his  mother  the 

supposed  secret  of  the  Senate.^ 
Practical  exercises. 
Morning  amusements. 
Charlotte. 
Virtue. 

The  flight  of  Paris  and  Helen  from  the  court  of 

Menelaus. 
Pomona. 

Cupid  and  Psyche. 

The  beautiful  Rhodope  in  love  with  /Esop. 
Laura. 

Nymphs  awakening  Cupid.  With  a  quotation 
from  Horace's  "  Odes  "  :  —  "  Dormio  in- 
nocuus.'* 

General  Stanwick*s  daughter.  A  memorial 
picture,  very  popular  in  its  day,  being  largely 
engraved.*  There  were  six  lines  of  poetry  at 
the  foot  of  the  engraving.  The  German 
biographers  of  Angelica  allude  constantly  to 
this  picture  as  one  of  her  best  paintings.  So 
far  no  trace  seems  to  exist  of  such  a  painting. 
,  Faith. 3 

Ther^se  Bandattini  and  Fortunato  Fantastici. 

Portraits  of. 
The  Muses  crowning  Pope. 
Perseverance.'' 

Fortitude  with  Lion.    Her  own  portrait. 
Signor  Abbate  de  Bourbon  of  France.  Portrait, 

1782. 
General  Espinasse. 


Bartolozzi. 
Marcuard. 
Burke. 


Bartolozzi, 


Bettilini. 

Stipple  engraving  by 
Rose  Lenoir. 

W.  W.  Ryland. 


Ryland. 


Ryder. 
Scorodomorf. 


^  In  the  classical  dictionary  Praetextatus  Vettius  and  Praetextatus  Sul- 
picius  are  given,  but  not  Papirius. 

^  A  print  engraved  by  Ryland,  and  corresponding  in  every  particular  to 
above  description,  is  in  the  portfolio  of  Angelicas,  B.  Museum.  ...  It  has 
no  title  nor  history. 

3  Portrait  of  Rosa  Bonomi. 

^  Perseverance  is  sometimes  called  Penelope  with  her  dog. — (See  Bowring.) 


C  C  2 


ETCHINGS  BY  ANGELICA  KAUFFMANN. 


Etching  is,  as  everyone  knows,  a  process  in  which  the  design  is 
freely  drawn  on  copper  with  a  metal  pointy  and  afterwards  bitten 
in  by  a  strong  acid.  This  art  was  much  practised  by  artists  in 
the  last  century,  particularly  abroad,  where  the  peintre  graveur 
flourished ;  in  the  seventeenth  and  eighteenth  century  line 
engraving  was  the  principal  method  used,  but  some  of  the  best 
engravers  combined  both  methods  with  excellent  effect. 

Mr.  Tuer,  in  his  "  Bartolozzi  and  his  Works,"  tells  the  reader 
in  a  pleasant  manner  all  about  the  beautiful  art  of  engraving,  with 
its  many  variations,  and  he  draws  attention  to  the  good  work  of 
Mr.  Seymour-Haden  and  Prof.  Herkomer. 

The  thirty-five  etchings  by  Angelica  are  of  great  value,  first, 
because  she  excelled  in  this  branch ;  secondly,  because  she  never 
practised  it  after  she  left  England. 

Her  earlier  productions  are  very  fine.  There  are  several 
specimens  in  the  collection  of  engravings  after  her  pictures,  in 
the  print  room  of  the  British  Museum.  Many  of  these  were 
purchased  by  the  Boydells  Brothers,  and  reproduced  in  aquatint, 
or  lavis,  to  suit  the  taste  of  the  day.  Some  of  her  later  etchings 
were  reproduced  in  mezzotint,  or,  as  the  French  call  it,  d  la 
maniere  noire.  In  all  the  dictionaries  ^  of  the  peintre-graveur 
of  the  last  century,  these  thirty-five  plates  of  Angelica's  are 
mentioned  with  much  commendation,  and  the  reproduction  by 
Boydell  (where  it  took  place)  is  set  down  in  the  following 

1  Beraldi,  Le  Blanc,  and  HUber  are  amongst  the  best.  Andresen  gives 
a  catalogue  of  her  etchings  ;  so  does  Bryan,  but  both  are  imperfect. 


Appendix, 


389 


manner: — 2nd  Ed,  d  la  maniere  de  lavis,  or  "lavis"  simply 
with  the  date  of  the  reproduction.  In  the  catalogue  here  given 
this  example  is  followed. 

In  some  of  her  plates  Angelica  was  assisted  by  Joseph  Zucchi, 
the  engraver  (brother  to  Antonio),  and  in  such  cases  at  the  foot- 
note of  the  engraving  or  etching  appears  the  words  Eadem  (the 
same  meaning  herself)  and  Joseph  Zucchi. 

These  explanations  are  given  for  the  advantage  of  those  who, 
perhaps,  have  not  studied  these  details. 


SUBJECT. 


1.  Susanna  surprised  by  the  Elders. 

2.  Holy  Family,  an  angel  offering  flowers  to  the 

child  Jesus. 

3.  Repose  in  Egypt.    (Angel  with  a  dish.) 

4.  Marriage   of   St.   Catherine   of  Sienna,  after 

Correggio. 

5.  Venus  with  the  corpse  of  Adonis  on  her  knees. 

6.  Juno  with  the  peacock,  right  hand  resting  on  the 

altar. 

7.  Hebe,  holding  a  shell  in  her  right  hand,  a  vase 

in  her  left,  into  which  she  pours  nectar  for 
Jupiter,  who  is  in  the  disguise  of  an  eagle. 

8.  Urania  ^  measuring  the  celestial  globe. 

9.  Simplicity  with  Doves,  after  her  portrait  of  Mrs. 

NoUekens. 

10.  Hope.    (Large  oval.)    Figure  of  a  woman  with 

a  turban  on  her  head,  her  arms  resting  on  an 
anchor. 

11.  Rinaldo  crowned  with  flowers  by  Arrnida,  two 

knights  in  the  distance. 

12.  Calypso  and  Ulysses  swearing  eternal  fidelity. 

13.  Sanzio. 

14.  Winckelmann  seated  at  his  desk  preparing  to 

write. 


ENGRAVER. 


1770. 

2nd 

lavis, 

I78I. 

I77I. 

2nd 

lavis. 

I78I. 

1770. 

2nd 

lavis, 

I78I. 

1770. 

2nd 

lavis, 

I78I. 

A.  K.     and  Joseph 
Zucchi. 


Reproduced  lavis  with 

bistre. 
A.   K.     and  Joseph 

Zucchi. 

1 764.      Proof  before 
letters. 


Mezzotint,  or  ci  la  inaiticre  noire.  _ 
In  this  process  the  artist  worked  upon  a  grained  board,  called  the  cradle. 

Upon  this  board  the  drawing  was  fixed,  and  the  lights  were  brought  out  by 

means  of  a  sharp  instrument  called  le  grattoir. 

Lavis  and  aqua-tint  are  identical.    The  copper,  upon  which  the  design 

is  drawn,  is  plunged  in  a  bath  of  water,  into  which  either  salt  mastic  or  sand 

has  been  mixed.    The  effect  produced  resembles  Indian  ink  or  bistre. 
^  Urania  and  Hope.    Portraits  of  herself. 


390 


Appendix. 


SUBJECT. 


ENGRAVER. 


15.  Young  man  leaning  on  his  left  hand.   The  portrait 

of  a  painter. 

16.  Bust  of  a  man  (three-quarters)  holding  a  stick. 


17.  Bust  of  a  man  (in  profile).    In  the  left-hand 

corner  the  letters  A.  K. 

18.  Man  with  turban,  leaning  on  books,  a  pencil  in 

his  hand. 

19.  Woman,  with  her  arms  and  feet  naked,  sitting 

w^ith  her  back  to  spectators  on  some  stones. 

20.  Die  Haarflechterinn  (Hair-plaiter). 

21.  Woman  meditating. 

22.  Woman  reading. 

23.  Woman  with  a  veil,  one  end  knotted  in  her 

hair,  the  other  falling  on  her  shoulder.  Both 
hands  support  a  book,  over  which  her  head  is 
bent. 

24.  A  female  figure  weeping  over  a  monumental  urn. 

(In  memory  of  General  Stanwick's  daughter, 
lost  in  her  passage  from  Ireland.)    Very  rare. 

25.  A  woman  reading  from  a  large  book. 

26.  A  woman  (half-length)  leaning  on  her  elbow, 

holding  a  ribbon. 

27.  Bust  of  a  woman,  her  profile  to  the  right. 

28.  Head,  in  profile,  of  a  young  woman. 

29.  L' Allegro.  (Oval.) 

30.  II  Penseroso.  (Oval.) 

31.  Two  philosophers. 

32.  Bust  of  an  old  man. 

33.  Study  of  the  head  of  an  old  man. 

34.  St.  Peter  rebuking  his  brother  apostle,  St.  Paul. 

After  Guido's  celebrated  picture  in  the  Casa 
Sempiere  in  Bologna.  Angelica  did  this 
subject  three  times,  in  1772,  1773,  and  1776. 
Joseph  Zucchi  helped  her  with  the  last,  and 
his  name  is  found  with  hers  on  the  leaf.  The 
one  executed  in  1772  is  the  best. 

35.  Sappho  conversing  with  Homer.    From  the 

original  by  Antonio  Zucchi.^ 


1762.  2nd  acquafortis 
finished  1781  in 
mezzotint. 


1770.  2nd  lavis, 
1780.       I  ' 

1765.    2nd  lavis,  1780. 
2nd  1 78 1.   Lavis  and 
bistre. 

1 77 1.  2nd  lavis, 
1781. 


1772. 


1779-1  These  are  two 
1779.)     of  her  best. 
1765. 

1762, 


1781.       A.  K.  and 
Joseph  Zucchi. 


^  This  was  the  last  etching  executed  by  Angelica  in  England.  Homer  is 
lying  under  a  tree.  This  is  said  to  be  Antonio  Zucchi's  portrait,  while 
Angelica  sat  for  Sappho.    Le  Blanc  remarks  that    Sappho  married  Homer." ^ 

A  portfolio  of  etchings  in  acquatinta  by  Angelica,  and  fancy  subjects 
after  her  designs  by  Delatre,  Tomkines,  and  Pastorini,  were  sold  in  Sir  Mark 
Sykes's  sale,  1825. 


PICTURES  AND  DESIGNS  ENGRAVED 
BY  BARTOLOZZI. 


BartolozziIs  engravings  hold  such  a  high  place  in  public  estima- 
tion, that  it  would  seem  desirable  to  append  a  list  of  those  which 
he  produced  from  Angelica's  works,  as  an  assistance  to  collectors. 
The  proofs,  especially  those  in  colours,  are  the  most  difficult  to 
obtain,  and  are  very  beautiful. 

There  have  been  several  collections  made  of  the  Bartolozzi- 
Angelicas.  At  the  Bowles-Rushout  sale  a  portfolio  containing 
250  Bartolozzis,  many  of  them  proofs  before  letters,  were  sold  to 
Smith,  the  commission  agent  for  the  American  market. 

An  album  put  together  some  years  since  by  Mr.  Harvey,  St. 
James'  Street,  of  Bartolozzi's  engravings,  contained  a  number  of 
beautiful  prints  after  AngeHca.  It  was  sold  at  Mr.  Sotheran's,  in 
the  Strand,  for  ^400^  to  an  American. 

Mr.  La  Touche  of  Belview,  in  Wicklow,  has  a  room  full  of 
Bartolozzis,  amongst  them  many  after  AngeHca.^ 

Mr.  A.  W.  Tuer  has  a  large  collection  of  prints,  and  sold  some  of 
his  Bartolozzi-Angelicas  not  long  ago.  The  British  Museum  has  a 
portfolio  containing  250  engravings  after  Angelica  (including  many 
Bartolozzis),  and  three  or  four  valuable  proofs  before  letters. 
Anyone  wishing  to  know  more  of  this  interesting  subject  should 
consult  Mr.  Tuer's    Bartolozzi  and  his  Works."  ^ 

1  After  Bartolozzi's  death  his  prints  went  for  a  time  out  of  fashion.  They 
could  be  got  for  the  small  sum  of  sevenpence  and  a  shilling.  The  Americans 
raised  the  price  by  otTering  large  sums  for  the  collections. 

2  It  is  not  generally  known  that  Bartolozzi  lived  for  a  couple  of  years  in 
Dublin,  and  it  was  owing  to  the  influence  of  Mr.  La  Touche  and  Lord  Charle- 
mont  that  he  secured  the  patronage  of  the  fashionable  world  of  London. 

3  Miss  Hoare,  of  Charles  Street,  had  a  collection  of  Angelica  Bartolozzis 
which  have  been  sold.  She  has  still  three  or  four.  Mr.  William  Bowles  has 
a  collection  of  proof  engravings,  many  of  them  Bartolozzis.  Mrs.  Nevile 
has  a  coloured  print  by  Bartolozzi,  from  Macklin's  gallery,  of  the  death  of 
Sylvia's  stag — date  1796.  The  Hon.  Gerald  Ponsonby  is  the  owner  of  a  col- 
lection of  very  fine  engravings  (several  proofs).  They  were  bought  at  the 
Rushout  sale,  and  are  now  very  valuable. 


392 


Appendix. 


The  list  here  given  has  been  compiled  in  part  from  Mr. 
Tuer's  exhaustive  catalogues. 

1.  Penelope  hanging  up  the  bow  of  Ulysses.    From  the  original  in  the 

possession  of  the  Earl  of  Morley. 

2.  The  Death  of  Sylvia's  Stag.    From  the  original  in  the  possession  of  Lord 

Justice  Downes. 

3.  Gualtherius  and  Griselda,  printed  in  red  chalk.^    From  the  picture 

painted  for  George  Bowles,  Esq. 

4.  Cleone,  printed  in  brown. 

5.  Cordelia,  in  red  chalk. 

6.  Dancing  and  Bacchanalian  nymphs. 

7.  Penelope  weeping  over  the  bow  of  Ulysses.  Oval. 

8.  Calais — the  snuff-box.    From  "Sentimental  Journey.'*    In  red  chalk. 

9.  Companion  ditto.    Maria  and  the  handkerchief. 

10.  Simplicity.    From  the  portrait  of  Mrs.  Nollekens. 

11.  Ahijah  foretelling  the  death  of  the  son  of  Jeroboam.    From  the  original 

painted  for  G.  Bowles,  Esq. 

12.  Christ  appearing  to  the  Maries.    From  the  original  painted  for  George 

Bowles,  Esq. 

13.  Dido  invoking  the  Gods.    Red  chalk.    Very  fine. 

14.  The  birth  of  Shakespeare.    (Veiy  fine.)    From  the  original  painted  for 

Lady  Rushout,  afterwards  Lidy  Northwick. 

15.  Companion  oval.    The  tomb  of  Shakespeare.^ 

16.  Telemachus  and  Mentor  in  the  Island  of  Calypso.^    From  the  original 

painted  for  George  Bowles,  Esq. 

17.  Winter.^ 

18.  Sincerity.^ 

19.  Rinaldo  and  Armida.^    From  the  original  painted  for  George  Bowles,  Esq. 

20.  Pomona. 

21.  The  Death  of  Clorinda  and  her  companion.    Proofs  in  black  and  brown 

before  letters.    Very  fine.' 
22  Louisa  Hammond  ;  or,  the  miseries  of  war.^ 
23.  L' Allegro .9 

^  The  red  chalk  method  was  successfully  practised  in  Paris  by  Demarteau, 
who  imitated  by  this  process  the  chalk  studies  of  Boucher.  Demarteau 
taught  the  method  to  Ryland,  who  introduced  it  into  England  about  the 
time  Bartolozzi  arrived,  -when  it  became  very  popular.  Everyone  raved 
about  these  charming  red  prints.  Angelica  Kauffmann,  then  in  the  zenith  of 
her  fame,  warmly  encouraged  this  new  taste  amongst  her  fashionable  patrons  ; 
hence  the  great  number  of  red  chalk  engravings  after  her  prettily-conceived 
designs.    "  Bartolozzi,''  by  A.  W.  Tuer. 

2  Mr.  Wdliam  Bowles  has  two  engravings  of  the  birth  of  Shakespeare  and 
companion  oval.  They  are  in  red,  and  are  first  impressions,  having  formed 
part  of  the  Wanstead  collection. 

2  This  was  sold  at  Mr.  Tuer's  sale  for       i  14  o 

*  and  ^  were  ,,  ,,  ,,  i  i  o 
6  and  7  „  „  „  ,,  5  10  o 
^          was          ,,          „  „  350 

*  „  „  „  „  220 

See  Tuer's  Bartolozzi." 


Appendix. 


393 


24.  The  beautiful  Rhodope  in  love  with  ^Esop.    Proofs  in  brown,  very  fine. 

Ditto  in  red  before  letters.^ 

25.  Coriolanus.^ 

26.  Venus  attired  by  the  Graces.^  From  the  original  painted  for  George  Bowles. 

27.  A  vestal. 

28.  King  Psammetichus  and  the  fair  Rhodope. 

29.  History. 

30.  Paulus  Emilius  educating  his  children.    Proofs  very  rare. 

31.  Diana  preparing  for  the  hunt.    Oval.    Red  chalk.    Proofs  in  red  and 

black,  very  rare. 

32.  Paris  and  QEnone  engraving  their  names  on  the  bark  of  a  tree. 

33.  Zeuxis  composing  his  picture  of  Juno.    Proof  most  rare  and  beautiful. 

From  the  original  painted  for  George  Bowles. 

34.  The  four  parts  of  painting.    Invention,  Composition,  Design,  Colouring. 

(Ovals.) 

35.  The  fine  arts ;  or,  les  beaux  arts.    Architecture,  Sculpture,  Painting. 

From  a  drawing  in  possession  of  M.  le  Baron  d' Offenbach. 

36.  The  rainbow  in  four  parts.    In  dark  brown  chalk. 

37.  Socrates  in  his  prison  composing  a  hymn  to  Apollo.  Oval. 

38.  Lady  Jane  Grey  giving  her  table  book  to  the  constable  of  the  tower. 

Bowles*  collection. 

39.  Queen  Margaret  of  Anjou  and  the  robber.-* 

40.  Lady  Elizabeth  Grey  imploring  Edward  IV.  to  restore  his  lands  to  her  son."* 

41.  Elfrida  meeting  King  Edgar  after  her  marriage  with  Athelwold.  From 

the  original  in  possession  of  Lord  Morley.^ 

42.  Bergere  des  Alpes.    Proof  before  letters,  rare  and  beautiful. 

43.  Religion. 

44.  Horace  ^  dreams. 

45.  Sallacia  girl  with  box. 

46.  Veillez  amants  si  I'amour  dort. 

47.  Turkish  lady  at  her  devotions. 

48.  Cleopatra  persuading  Meleagar  to  defend  his  country. 

49.  Cossuccia. 
49a.  Coelia. 

50.  Fatima  and  Zoraide. 

51.  Liberal  fair. 

52.  Rosalinda. 

53.  The  fair  Alsatian. 

54.  Rural  sports.    From  the  original  picture  in  the  possession  of  Mr.  Wood- 

house. 


^  This  was  sold  at  Mr.  Tuer*s  sale  for  £220 
n  )f  )»  n  240 

^  n  „  ,,660 

See  Tuer*s  '*  Bartolozzi." 
*  The  price  now  asked  for  an  engraving  of  either  of  these  pictures  is  from 
£S  to  ;^'io. 

^  This  had  been  commenced  by  the  unfortunate  W.  W.  Ryland,  and  after 
his  death  it  was  completed  by  Bartolozzi  for  the  benefit  of  his  widow. 

^  Horace  *  is  called  in  Mr.  Bowles'  catalogue  '*  Venus  and  Ascatiiusy 
In  the  Bartolozzi  prints  there  are  two  lines  of  poetry  at  the  foot  of  engraving. 


394 


Appendix. 


55.  Zobeide,  the  beautiful  Moor. 

56.  Young  girl  with  bird-cage. 

57.  Antiope. 

58.  Diana.  • 

59.  Eurydice. 

60.  Female,  walking  in  a  wood,  comes  upon  Love  -playing  the  harp. 

61.  Hermione. 

62.  Nymphs  after  bathing. 

63.  Penelope. 

64.  Venus  showing  ^neas  the  way  to  Carthage.    From  the  picture  now  in 

possession  of  Albert  Sandeman,  Esq. 

65.  Women,  one  with  lyre. 

66.  Miranda  and  Ferdinand* 

67.  Girl  with  garlands.    Probably  from  the  Belvoir  picture. 

68.  Cornelia,  mother  of  the  Gracchi.    Proof  beautiful.    From  the  original 

painted  for  George  Bowles. 

69.  Venus  and  Cupid. 
7u.  Cupid  and  Aglaia. 

71.  Cupid  sleeping  on  the  lap  of  a  woman,  another  Cupid  standing  by. 

72.  Tancred  and  Erminia. 

73.  Virgil. 

74.  Virgil  reading  the  ^neid. 

75.  Adoration. 

76.  Humility.    Proof  before  letters. 

77.  Sacrifice  to  Ceres.  1782. 

78.  Nymph  and  Cupid. 

79.  The  Passions. 

80.  The  Seasons.    A  series  of  four. 

81.  Tragedy  and  Comedy. 

82.  Vanity  and  Modesty. 

83.  Damon  and  Delia.  T 

84.  Death  of  Alcestis. 

85.  Griselda. 

86.  Henry  and  Emma.    From  the  Bowles'  collection. 

87.  Apollo  and  his  companion. 

88.  Emma  Corbett. 

89.  A  warrior  seated  in  a  wood  holding  up  his  hand  to  a  maiden. 

90.  A  woman  (in  profile). 

91.  Celia  and  Rosalind. 

92.  Celadon  and  Amelia, 

93.  Fatima. 

94.  The  Judgment  of  Paris.    From  the  Bowles'  collection. 

95.  Tancred  and  Clorinda  (from  Tasso). 

96.  Bacchus  teaching  the  Nymphs  to  make  verses. 

97.  Child  with  kitten. 

98.  A  girl  at  her  toilette. 

99.  Tambourine  and  Castanet. 

100.  Woman  with  lyre,  or  Angelica  as  Poetry. 

101.  Lady  North  wick  and  child.    Sometimes  called  Venus  and  Cupid. 

102.  Countess  of  Harcourt.  Portrait. 

103.  Virgil  asleep.    Companion  picture  to     Horace  dreams."    From  the 

Bowles'  collection. 


ILLUSTRATIONS  AND  FRONTISPIECES 
BY  BARTOLOZZI  FROM  ANGELICA'S 
DESIGN. 


1.  A  Muse  for  Scott's  Poems. 

2.  Flora  for  Thomson's  Seasons.    Bell's  edition. 

3.  Frontispiece  for  Churchlirs  Poems. 

4.  Felicity,  from  CoUins's  Eclogues. 

5.  BelPs  Poets — Savage,  vol.  Ixx. 

**  Where  kind  content,  from  noise  and  Court  retires, 
And  smiling  sits,  while  Muses  tune  their  lyres." 

6.  Hammond's  Love  Elegies,  vol.  i.,  p.  88. 

"And  Love  himself  could  flatter  me  no  more.'* 

7.  Mallet's,  vol.  xi. 

"  And  close  within  his  grasp  was  clenched  a  broken  oar.** 

Angelica  preferred  Burke  as  an  engraver  of  her  work  to  Bartolozzi,  and 
always  stipulated  he  should  copy  her  pictures  ;  he  had  a  soft  and  beautiful 
tone  in  his  prints,  and  the  day  is  not  far  distant  when  they  will  command  very 
high  prices." — Ttier  s  Bartolozzi^ 

Fan  Mounts n 

1.  Hope  nursing  Love. 

2.  The  fine  arts. 

3.  L'amour  dort. 

Also 

Some  concert  and  masquerade  tickets  (very  rare). 


DRAWINGS  IN   PENCIL,  CHALK,  AND 
INDIAN  INK,  BY  ANGELICA 
KAUFFMANN. 


In  the  Possession  of  Charles  Goldie,  Esq.,  ^ 
20,  Gordon  Place,  Kensington. 

1.  Portrait  of  Rosa  Bonomi,  itee  Florini.    (In  pencil.) 

2.  Arcadia.    The  original  sketch  of    Arcadia,'' exhibited  by  Angelica  the 

year  of  her  arrival  in  England,  1766.  The  sketch  is  small,  and  done 
with  great  delicacy  in  Indian  ink  on  grey  paper,  touched  with  Chinese 
white. 

3.  Calypso  mourning  the  departure  of  Ulysses.    Original  sketch,  identical  in 

treatment  with  Ariadne  lamenting  Theseus.  It  is  also  in  Indian  ink, 
same  as  No.  2. 

4.  Slight  sketch  of  a  woman  consoling  a  weeping  child.    In  chalk. 


^  The  family  of  Goldie  are  the  immediate  descendants  of  the  eminent 
architect,  Joseph  Bonomi,  who  married,  in  1775,  Rosa  Florini,  Angelica's 
cousin.  Of  this  marriage  there  were  ten  children,  six  sons  and  four  daughters. 
The  sons  were  distinguished  either  in  the  army  or  in  science.  Joseph  was 
well  known  as  an  eminent  Egyptologist,  and  later  became  curator  of  the 
Soane  Museum.  Of  the  daughters,  Mary  Anne,  the  second,  married  George 
Goldie,  M.D.,  father  of  Mr.  Charles  Goldie,  so  that  he  comes  in  touch  through 
his  grandmother  with  Angelica,  and  has  an  affectionate  regard  for  his  gifted 
cousin.  All  mementoes  have  been  carefully  preserved.  The  gold  snuff-box 
given  by  the  Emperor  Joseph,  the  miniature  of  Zucchi  set  as  a  bracelet,  and 
the  diamond  earrings  mentioned  in  her  will  are  in  Mr,  Charles  Goldie's 
possession. 


Appendix. 


397 


Drawings  formerly  in  the  Burney  Collection,  and 

ENTERED  IN  Mr.  B.  QuARITCH'S  CATALOGUE  OF   1 8 92. 

Summer  and  Autumn,  a  pair  of  pictures  in  water-colours,  with  classical  figures 

and  appropriate  scenery,  the  three  Graces  being  prominent  in  the 

foreground  of    Summer."    About  1780. 
L* Amour  Venge,  Cupid  flying  from  a  company  of  Satyrs,  the  figures  coloured, 
A  mother  and  three  children  clinging  to  her,  richly  but  darkly  painted  in  oil, 
A  mother  and  three  naked  boys  seated  on  clouds ;  a  coloured  cartoon,  but 

not  finished  as  a  painting. 
Three  designs  apparently  for  a  book  on    The  Arts,"  one  a  frontispiece,  the 

other  two  symbolizing  Music  and  Painting.    About  1786-90. 
Two  tinted  pen-and-ink  drawings  to  illustrate  Telemachus.    About  1790.^ 


F.  Wadmore,  Esq.,  Cleone. 

Original  Sketch, 


^  A  set  of  engravings  (4)  have  been  recently  added  to  the  portfolio  of 
Angelicas  in  the  Print-room,  British  Museum  ;  they  are  engraved  by  Gabrielli, 
and  are  said  to  be  after  her  designs  of  the  four  seasons.  They  are  very 
indifferent. 


DRAWINGS  TO  BE  SEEN  IN  THE  EXHIBITION 
GALLERY,  BRITISH  MUSEUM. 

1 .  Death  of  Clorinda. 

2.  Una  and  the  lion.    Una,  a  portrait  of  herself. 

3.  A  girl  reading. 

4.  Portrait  of  herself. 

5.  Sketch  of  a  beggar  holding  out  his  hand.    From  the  collection  of  Mr. 

Payne  Knight. 

6.  Classical  design  for  decoration. 

7.  Sacrifice  to  Ceres.    Design  for  a  sopra  porta. 

8.  A  Bacchante. 

9.  Paris  and  Helen  with  Cupid  inflaming  their  hearts.    Original  sketch. 

IN  THE  FINE   ARTS  GALLERY,  NEW  BOND 

STREET. 

Calypso  mourning  the  departure  of  Ulysses.    The  same  subject  as  the  one  in 
possession  of  Mr.  Charles  Goldie. 


A  portfolio  of  drawings  in  possession  of  Mr.  Edward  Goldie. 
Also  a  portfolio  of  drawings,  and  other  mementoes  belonging  to 
Angelica,  in  the  possession  of  Mrs.  George  Goldie  {Venabrio)^ 
living  in  Brittany, 


GUIDE  TO  THE  HOUSES  DECORATED 


BY  ANGELICA  KAUFFMANN. 

[1771— 1781.] 

To  present  anything  approaching  to  a  complete  list  of 
the  ceilings,  friezes,  etc.,  painted  by  Angelica  during  the 
ten  years  she  undertook  this  work,  would  be  impossible. 
In  the  constant  changes  which  occur  in  a  large  city, 
many  of  the  houses  have  disappeared,  others  have  fallen 
into  decay,  while  some,  during  the  benighted  period 
which  set  in  about  1830,  and  which  may  be  termed  the 
Dark  Ages,  were  deliberately  spoiled,  by  their  owners, 
who  were  genuine  iconoclasts  so  far  as  art  was  in  ques- 
'tion.  The  fact  that  Angelica  painted  these  ceilings,  not 
on  wood,  but  on  canvas  or  foolscap  which  was  afterwards 
put  up,  made  the  work  easy  to  remove,  and  also  more 
liable  to  the  influence  of  damp  or  neglect,  and  in  this 
manner  much  of  her  decoration  has  been  lost. 

To  find  out  the  names  of  the  original  owners  of  the 
houses  she  decorated  has  been  a  task  of  some  difficulty. 
Great  help  has  been  given  by  those  who  possess  such 
houses,  either  by  right  of  succession  or  by  purchase, 
and  the  result  has  been  fairly  successful. 


40O  Appendix. 

I  have  to  thank,  in  a  special  manner,  for  their  kind  help. 
Viscount  Portman,  Dowager  Lady  Watkin  Williams- 
Wynn,  the  Lady  Constance  Leslie,  Mr,  R.  F.  Sketchley, 
of  the  South  Kensington  Museum,  Mr.  Vicat  Cole, 
R.A.,  Mr.  Wright  of  the  Adelphi,  and  Mr.  Miintzer  of 
Dover  Street. 


I. 

The  Adelphi.  • 

This  interesting  and  now  beautiful  part  of  the  Strand 
takes  its  name  from  four  brothers,  Robert,  John,  James 
and  William  Adam,  who,  in  1765,  obtained  ihe  lease  of 
the  land  from  Sir  Thomas  Maupasson  for  ninety-nine 
years,  and  called  it  the  Adelphi,  Greek  for  brothers. 
Robert  and  James  were  architects  of  repute  and  men  of 
genius.  William,  in  company  with  Clerisseau,  the  French 
artist,  and  Antonio  Zucchi,  then  a  young  draughtsman, 
undertook  a  journey  to  Dalmatia,  in  order  that  he  might 
perfect  himself  in  the  best  types  of  Ancient  Art.  The 
result  can  be  seen  in  the  magnificent  designs  of  the 
houses  he  built  and  the  exquisite  finish  of  his  curves, 
friezes,  panels,  etc. 

Being  natives  of  Scotland,  the  brothers  Adam  were 
patronized  largely  by  Lord  Bute.  For  this  statesman 
they  built  Lansdowne  House^  Berkeley  Square,  Luton 
House,  Bedfordshire,  and  Caen  House,  Hampstead. 
Their  nationality,  together  with  their  enjoyment  of  the 
favour  of  the  unpopular  minister,  made  them  disliked,  and 
when  in  1771,  in  building  the  Adelphi,  they  encroached 


Appendix. 


401 


too  far  on  the  rights  of  the  citizens,  the  inhabitants 
applied  to  Parliament  for  protection,  but  did  not  get  it. 
This  increased  their  annoyance.  Squibs  were  freely  cir- 
culated at  the  expense  of  the  brothers  : — 

*  Four  Scotchmen,  by  the  name  of  Adams, 
Who  keep  their  coaches  and  their  madams,* 
Quoth  John  in  sulky  mood  to  Thomas, 

*  Have  stole  the  very  river  from  us  ! ' " 

The  Adelphi  is  a  standing  memorial  of  the  master 
hand  that  designed  and  built  it.  Walking  through  Adam 
Street  and  the  adjacent  streets,  anyone  with  an  eye  for 
architectural  beauty  must  be  struck  with  the  exquisite 
symmetry  of  the  designs — notably  in  Mr.  Attenborough's 
offices — the  architraves  of  the  doors  of  the  houses  in 
John  Street,  and  the  elegance  of  the  terrace  itself,  upon 
which  immense  care  had  been  bestowed.  Most  of  the 
ceilings  in  the  principal  rooms  were  decorated  by 
Zucchi,*  and  more  than  one  was  the  work  of  Angelica. 
The  chimney-pieces  were  handsomely  carved,  and  the 
shutters,  doors  and  skirtings  had  all  carved  mouldings  of 
very  elegant  design.  Much  of  this  still  remains,  although 
the  houses  suffered  considerably  through  the  vicissitudes 
through  which  they  passed.  The  speculation  of  the 
brothers  turned  out  a  failure,  the  expense  of  the  building 
and  of  the  arches  that  were  necessary  for  the  foundation 

^  Zucchi  was  an  old  friend  of  the  Adam  Brothers,  and  had  come 
to  London  on  their  invitation.  It  was  he  who  probably  introduced 
Angelica  to  the  decorative  business.  Zucchi  decorated  Caen  Wood, 
Osterley  Park,  Luton  House,  Buckingham  House,  Sion  House,  and 
others.  In  the  architectural  works  of  the  Brothers  Adam  no  men- 
tion is  made  of  any  other  decorator  Imt  Zucchi.  There  is,  however, 
no  doubt  that  he  was  assisted  by  Angelica,  her  father,  Cipriani, 
and  others. 

D  d 


402 


Appendix. 


was  not  recouped,  owing  to  the  difficulty  of  finding  tenants 
rich  enough  to  pay  sufficiently  high  rents.  The  houses 
remained  unlet,  and  gradually  fell  out  of  repair.  The 
property  was  heavily  mortgaged,  and,  as  time  went  on, 
came  into  the  hands  of  the  principal  mortgagee,  Mr. 
Drummond,  to  whom  it  now  belongs.  In  1872  the 
houses  subsided,  and  the  attention  of  the  authorities 
being  called  to  their  dangerous  state,  an  order  was  made 
to  compel  immediate  repair.  They  are  now  in  excellent 
order  and  all  occupied,  but  in  many  of  them  the  decora- 
tions had  to  be  removed,  as  the  damp  and  rain  coming 
through  the  roofs  had  completely  obliterated  them.^ 
This  happened  to  the  ceiling  in  No.  6,  now  occupied  by 
the  Savage  Club.  There  are  decorations  to  be  seen 
at  :— 

No.  i<^,  formerly  the  residence  of  the  Bishop  of  Durham, 
afterwards  the  home  of  the  Junior  Garrick  Club,  and 
now  belonging  to  the  Christian  Police  Association.  Here 
the  ceiling  is  good,  but  the  paintings,  half-moons  in 
shape,  nine  in  number,  representing  flying  Cupids  and 
Nymphs,  are  very  poor.  They  are  said  to  be  by 
Angelica,  but  have  great  traces  of  John  Joseph. 

No.  5,  which  bears  the  well-known  medallion,  to 
David  Garrick,"  now  belongs  to  the  Institution  of  Naval 
Architects,  and  has  a  very  good  ceiling  with  a  medallion 
in  the  centre  and  several  small  ovals.  These  are  said 
to  be  the  work  of  Angelica,^  and  probably  some  of  them 
are,  as  she  had  such  a  close  friendship  with  Garrick  and 

^  Much  information  about  the  terrace  was  kindly  given  by  Mr. 
Wright,  agent  to  the  estate. 

2  In  Old  and  New  London  "  it  is  distinctly  stated  that  Garrick's 
house  was  decorated  by  Antonio  Zucchi. 


Appendix,  403 


his  wife.  The  subject  of  the  centre  medalHon  is  Venus 
attired  by  the  Graces."    It  is  very  highly  coloured.^ 

At  No.  6,  now  the  home  of  the  Savage  Club,^  under- 
neath the  whitewash  there  was  discovered  a  painted 
ceiHng,  said  to  be  by  Angelica.  It  fell  to  pieces  in  re- 
moving. 

At  No.  4,  now  the  residence  of  Mr.  R.  D'Oyly  Carte, 
there  is  a  perfect  gem  of  a  ceiling,  and  the  work  is  dis- 
tinctly Angelica's.  It  is  soft  and  lovely,  and,  if  restored, 
has  been  most  judiciously  done.  The  subject  is  one 
often  repeated  by  her — "  Agliiia,  one  of  the  Graces,  bound 
to  a  tree  by  Cupid."  There  are  fifteen  small  ovalsc 
Mr.  Carte  may  consider  himself  very  fortunate  in  pos- 
sessing  such  a  piece  of  work.^ 

On  the  other  side  of  the  Police  Association,  in  the 
Adelphi  Hotel,  there  is  a  ceihng  with  three  plaques ;  the 
paintings  require  cleaning  to  enable  one  to  discern  the 
subjects.  The  ceiling  has  been  divided.  It  is  probable 
that  in  its  first  condition  this  house,  and  the  one  formerly 
occupied  by  the  Junior  Garrick,  were  one,  and  may  have 
been  the  residence  of  the  brothers,  which  is  the  tradi- 
tion. On  the  other  hand,  it  would  seem  unlikely  that 
those  artistic  minds  would  have  such  inferior  work. 
•  No.    9,   John   Street,   Adelphi.*    Antonio  Zucchi's 

^  In  all  decorative  work  which  has  been  restored,  it  is  hard  to 
distinguish  the  original  colouring,  and  this  applies  especially  to 
Angelica's  work,  which  was  too  delicate  to  bear  the  presence  of 
certain  mediums  and  varnishes. 

"  No.  7  also  belongs  to  the  club. 

3  Henderson,  the  husband  of  George  Keate's  daughter,  had  a 
house  in  Adelphi  Terrace^  Mrs.  Henderson  was  a  friend  of 
Angelica's. 

*  Now  occupied  by  different  professional  gentlemen.  The  ceiling 
is  in  the  possession  of  Messrs.  Perry  &  Reid.  Zucchi  got  90/.  a  year 
for  this  house. 

D   d  2 


404 


Appendix. 


house,  which  he  bequeathed  to  his  nephews.  A  good 
house  with  a  good  deal  of  Adam's  work  on  the  staircase 
and  doors ;  one  of  the  rooms  has  a  nice  ceiling  let  in 
with  faint  blue  here  and  there,  and  a  medallion  with 
three  figures  in  the  centre.  The  figures  are  of  Grecian 
pattern  in  stucco,  and  are  probably  the  work  of  Bonomi. 
They  are  well  designed.  There  is  a  tradition  that  Ange- 
lica painted  some  decorations  for  Zucchi's  house.  If 
this  ceiling  represents  her  labour  of  love,  it  did  not  cost 
her  much  trouble. 

Just  opposite  Zucchi*s  house  in  John  Street  is  the 
home  of  the  Society  of  Arts,  who  removed  from  the 
Strand  to  the  Adelphi  in  1774. 

After  the  failure  of  the  proposal  to  decorate  St.  Paul's, 
it  was  suggested  that  the  principal  artists  of  the  Royal 
Academy  should  be  invited  to  contribute  each  a  painting 
to  decorate  the  Great  Room  of  meeting,  or  Council 
Chamber  of  the  Society.  Reynolds,  Cipriani,  West, 
Dance,  Barry,  and  Angelica  Kauffmann  were  named. 
The  idea,  however,  fell  to  the  ground;  but  three  years 
later  (in  1777)  Barry  offered  to  decorate  single-handed 
the  Great  Room.  He  had  sixteen  shillings  in  his  pocket 
when  he  made  the  offer.  He  accomplished  his  work, 
and  anyone  visiting  the  Society's  rooms  can  see  his  six 
enormous  canvases. 


II. 

22,  PoRTMAN  Square,  the  Residence  of  Viscount 

PORTMAN. 

This  noble  mansion,  designed  by  James  Stuart  and 
Bonomi,  built  by  the  brothers  Adam,  and  decorated  by 


.  A ppendtx. 


405 


Angelica,  Zucchi,  and  Cipriani,  in  which  Mrs.  Montagu, 
nee  Robinson,  lived,  was  the  wonder  of  the  day.  Miss 
Burney,  in  her  pleasant  Diary,  tells  us  how  that  lady,  of 
whom  the  clever  little  authoress  stood  considerably  in 
awe,  invited  the  Streatham  party  to  come  and  see  her 
new  house,  where  Angelica  was  at  work. 

Horace  Walpole,  who  disliked  the  Montagu  and  her 
blue-stocking  friends,  writing  to  Sir  Horace  Mann,  says. 

On  Monday  with  the  Haircourts  at  Mrs.  Montagu's  new 
palace,  and  was  much  surprised.  Instead  of  vagaries,  it 
is  a  noble,  simple  edifice.  It  is  grand,  not  tawdry,  vcox 
larded  and  embroidered  and  pomponned  with  shreds  and 
remnants,  and  clinquant  like  all  the  harlequinades  of 
Adam,  which  never  let  the  eye  repose  a  moment.''  ^ 

That  there  is  wonderful  harmony  and  a  dignified  repose 
in  Montagu  House  is  certain ;  but  a  lack  of  gilding  ^  is 
not  its  predominant  feature :  on  the  contrary,  its  gilded 
walls  and  ceilings  have  always  been  famous.  We  must 
therefore  conclude  the  critic  of  Strawberry  Hill  visited 
it  before  it  had  received  all  its  trappings  ;  neither  does 
he  make  any  mention  of  the  Feather  Room,  to  which 
Mrs.  Montagu's  friends  in  all  countries  contributed. 
Cowper  alludes  to  this  eccentric  chamber  in  the  well- 
known  lines : — 

"  The  birds  put  off  their  every  hue 
To  dress  a  room  for  Montague." 

After  a  time  the  congregation  of  moths  became  so 
numerous,  that  the  gay  plumage  had  to  be  stripped  from 
the  walls. 

^  He  also  says,  "  Dined  at  Mrs.  Montagu's.  When  I  came 
home  I  recollected  that  though  I  had  thought  it  so  magnificent 
a  house,  there  was  not  a  morsel  of  gilding.**    This  was  in  1782. 


406 


Appendix. 


Lord  Portman,  upon  whose  property  the  house  was 
built^  has  lately  made  Montagu  House  his  residence,  and 
the  improvements  introduced  by  him  are  most  judicious, 
including  the  portico,  which  looks  as  if  it  had  formed 
part  and  parcel  of  the  original  house. 

Inside  it  is  purely  Georgian,  the  medallions  and 
entablatures  being  thoroughly  Adamesque,  if  we  may  so 
call  them.  The  ball-room,  a  superb  room,  has  a  highly 
decorated  ceiling  with  three  large  oval  paintings  repre- 
senting Olympus.  The  subject  of  the  centre  is  Venus 
borrowing  the  Cestus  of  Juno.  The  friezes  round  the 
room,  which  are  in  stucco,  reproduce  Venus  in  her  chariot 
drawn  by  Cupids.  Lord  Portman  does  not  count  the 
ceiling  as  the  work  of  Angelica.  The  paintings  in  the 
reception-room, he  says,  writing  to  the  compiler,  *^are 
by  Angelica  Kauffmann.  Most  of  the  decorations  in 
the  ball-room  on  the  ceiling  are  by  Bonomi/  date  1791." 
If  we  accept  the  date  as  correct,  there  can  be  no  doubt 
that  they  could  not  be  Angelica's  work,  as  she  was  then  no 
longer  living  in  England  ;  in  addition  to  which  there 
is  a  certain  Italian  touch  and  brightness  of  the  colouring 
unlike  her.  At  the  same  time,  we  have  Miss  Burney's 
testimony  that  Angelica  was  decorating  the  house  in  1 781, 

^  Joseph  Bonomi,  A.R.A.,  while  studying  architecture  at  Rome, 
where  he  was  born,  was  induced  by  the  brothers  Adam  to  leave 
Rome  and  come  to  London,  which  he  did  in  1767,  when  he  was  about 
twenty-eight  years  of  age.  He  remained  for  a  considerable  time  in 
the  employment  of  the  Adams.  He  married  Rosa  Florini,  a  cousin 
of  Angelica  Kauffmann,  and  had  a  family  of  ten  children.  The 
Spanish  Chapel  and  Montagu  House  in  London  are  from  his 
designs ;  also  Eastwell  House,  in  Kent,  once  the  residence  of  the 
Duke  of  Edinburgh  ;  Roseneath,  on  the  Clyde,  a  mansion  belonging 
to  the  Duke  of  Argyll,  and  other  well-known  country  seats. 
He  died  in  his  house  in  Great  Titchfield  Street  on  the  9th  March, 
1808.    His  wile  lived  tiU  June,  1 8 12. 


Appendix. 


407 


and,  moreover,  it  is  certain  that  Bonomi  was  no  colourist, 
but  an  architect  and  able  draughtsman.  It  is  pro- 
bable, taking  into  account  Walpole's  remarks,  that 
the  gilding  was  an  addition,  and  that  at  the  same  time 
some  portions  of  the  ceiling  may  have  been  painted  by 
Cipriani,^  which  would  account  for  the  Italian  colouring, 
which  IS  very  unlike  Angelica's.  There  is  a  fine  marble 
chimney-piece  in  this  room,  and  the  skirtings  are  all  of 
the  purest  Italian  marble.^ 

In  the  reception-room  there  are  six  sopra-portas  "  by 
Angelica  on  each  side  of  the  wall,  matching  exactly  in 
shape  a  large  one  in  the  middle  and  a  smaller  on  each 
side.  The  subjects  are  taken  from  Shakespeare's  plays, 
especially  **King  Lear."  One  is  Cordelia's  corpse 
carried  on  a  bier — a  good  picture.  The  others  are  some- 
what poor,  and  it  is  a  pity  they  should  be  framed,  as  it 
spoils  the  effect ;  particularly  on  the  side  of  the  room 
where  the  door  is  they  would  look  better  let  into  the 
wall  as  panels. 


III. 

II,  Stratford  Place,  Sir  John  Leslie's  House. 
Few  persons  hurrying  along  the  busy  thoroughfare  of 
Oxford  Street  have  leisure  to  give  more  than  a  passing 
glance  at  this  old-fashioned  place,  standing  back,  as 

^  Cipriani,  the  intimate  friend  of  Bartolozzi,  whose  fellow-coun- 
tryman he  was.  They  were  like  twin  brothers.  Cipriani  was 
remarkable  for  the  elegance  of  his  groups  and  the  grace  of  his 
contours. 

2  Since  writing  the  above  I  have  been  informed  by  Mr.  Goldie 
that  the  Baron  de  Cosson,  connected  with  his  family  by  marriage, 
has  in  his  possession  Angelica's  original  drawings  for  Montagu 
House.— (7. 


4o8 


Appendix. 


it  were,  with  the  quiet  dignity  of  age,  from  the  bustle  and 
tumult  of  the  new  world  which  now  surrounds  it,  and 
which  is  out  of  tune  with  its  past. 

Stratford  Place  was  built  in  177 1  by  the  Brothers 
Adam,  and  Stratford  House,  with  its  noble  frontage,  was 
the  residence  of  an  Irish  peer,  O'Neale  Stratford, 
Earl  of  Aldborough.^  The  viscount  was  a  dilettante 
nobleman  of  the  Charlemont  and  Powerscourt  type,  the 
viscountess  being  quite  as  eccentric  as  her  contemporary. 
Lady  Burlington^  with  the  result  that  the  extravagances 
of  both  husband  and  wife  left  a  legacy  of  debt  to  the 
heirs,  which  necessitated  parting  with  Stratford  House, 
while  the  old  family  residence  near  Dublin  was  first 
converted  into  barracks,  and  has  now  sunk  into  a 
lodging  house  of  the  most  ruinous  description.^ 

Sir  John  Leslie,  of  Glasslough,  is  the  present  owner  of 
Stratford  House,  and  in  his  hands  the  beauties  contained 
in  it  are  well  cared  for.  There  is  a  fine  staircase  with 
the  Adam  cornices  and  ornamentations.  The  ceilings 
are  in  Angelica's  best  manner.  In  the  Cupid  drawing, 
room,  "  the  Paphian  Boy  "  is  to  be  seen  in  every  mood 
and  shape,  truly  painted  by  the  pencil  of  fascination.'* 
In  the  dining-room  we  find  another  ceiHng  with  the 
subject  so  well  known,  and  which  Angelica  so  much 
liked,  that  of  Aglaia  bound  by  Cupid  and  the  Nymphs 
to  a  laurel  tree. 

There  are  other  houses  of  interest  in  Stratford  Place, 
Cosway,  the  miniature  painter,  removed  in  1 792  from  Pall 

*  Hence  the  name  Stratford  Place. 

2  It  is  a  most  weird-looking  old  house,  degradation  written  upon 
its  neglected  walls.  But  up  to  a  recent  date  it  contained  some  fine 
chimney-pieces  by  Wedgwood,  and  carvings,  which  have  since  been 
sold  to  English  dealers. 


Appendix.  409 


Mall  to  the  corner  house.  No.  i.  It  may  be  known  by 
the  lion  on  the  top.  Hardly  was  he  established,  when  a 
pasquinade,  attributed  to  the  malicious  Peter  Pindar,  was 
affixed  outside  : — 

"  When  a  man  to  a  fair  for  a  show  brings  a  lion, 
'Tis  usual  a  monkey  the  signpost  to  tie  on ; 
But  here  the  old  custom  reversed  is  seen, 
For  the  lion's  without  and  the  monkey's  within."  ^ 

Cosway,  who  was  as  sensitive  as  he  was  vain,  was 
so  annoyed  at  this  sorry  jest,  that  he  moved  to  the 
opposite  side  (No.  20),  and  there  he  lived  until  his  death. 
It  has  been  always  said  that  in  his  house  there  was  a 
beautiful  ceiling  by  Angelica  Kauffmann  ;  but  this  seems 
improbable,  as  in  1792  she  had  been  living  many  years 
in  Rome.  She  may  have  painted  one  for  him  either  in 
his  house  in  Pall  Mall  or  Berkeley  Street. 


IV. 

SoHO  Square,  Lord  Fauconberg's  House. 
{Now  a  portion  of  Messrs.    Crosse  and  BlackwelVs 
Warehouse. ) 

One  of  the  charms  of  London  is  the  quaint  little 
squares  set  apart  in  the  midst  of  the  busy  capital,  and 
reminding  one  in  their  quietude  and  almost  desolation 
of  some  grey,  joyless  lives,  which  have  no  share  in  what  is 
going  on  around  them.  Silent  as  it  now  is,  Soho  Square 
was  in  Angelica's  day  a  centre  of  gaiety  and  dissipation, 

^  Since  this  was  written  No.  i  has  been  pulled  down  to  make 
way  for  the  new  buildings  of  a  bank. 


Appendix. 


for  here  lived  Mrs.  Cornelys,  called  in  her  time  ^*the 
Heidegger  of  the  age."  To  her  and  her  notorious  rooms 
was  attributable  the  ruin  of  many  a  promising  youth  and 
maiden. 

Another  celebrated  place  of  fashionable  dissipation 
was  the  "  White  House,"  situated  on  the  opposite  side 
of  the  Square  to  Mrs.  Cornelys,  where  Messrs.  Crosse 
and  Blackwell's  premises  now  stand.  The  White  House 
was  frequented  by  such  well-known  personages  as  the 
Marquis  of  Queensberry,  famiHarly  called  "  Old  Q,"  the 
Marquis  of  Hertford,  and  the  Prince  of  Wales.  The 
different  apartments  were  known  as  the  silver,  the  bronze, 
and  the  gold  rooms,  the  painted  chamber  and  the  grotto. 

Next  door  to  this  White  House  was  the  residence  of 
Lord  Fauconberg.  It  is  now  incorporated  with  Messrs. 
Crosse  and  Blackwell's  buildings,  and  in  it  the  sale  of 
their  productions  is  carried  on.  In  one  of  the  upper 
rooms  a  painted  ceiling  was  found  in  a  dilapidated  and 
neglected  condition.  It  fortunately  fell  into  the  hands  of 
the  head  of  the  firm,  who,  finding  it  was  painted  on  canvas, 
had  it  carefully  removed,  restored,  and  conveyed  to  his 
own  residence.  The  Cedars,  near  Pinner.  The  four  ovals 
of  the  ceiHng  have  been  framed,  and  hang  in  the  hall  as 
pictures.  There  is  a  slight  coarseness  about  them,  for  as 
a  natural  consequence,  work  intended  to  be  seen  from 
a  distance  is  never  so  highly  finished.  There  is  Cupid 
and  the  nymph  Euphrosyne,  Angelica  and  Urania  with 
the  Celestial  Globe,  and  a  large  oval  of  nymphs  with 
garlands,  which  is  far  the  best  both  in  design  and  colour. 
The  grouping  is  both  graceful  and  effective. 


Appendix.  4 1 1 


V. 

12,  Grosvenor  Square,  Lord  Wynford^s  House. 

This  house  has  changed  hands  several  times.  It  • 
belonged  to  Miss  Charlotte  Grenville,  daughter  to  George 
Grenville,  the  Minister,  and  wife  to  Sir  Watkin  Williams- 
Wynn,  who  was  the  friend  of  Garrick,  and  of  Sir  Joshua, 
by  whom  the  lady  was  twice  painted.  Her  son  gave 
her  12,  Grosvenor  Square  as  her  dower  house,  as  she 
did  not  like  St.  James's  Square.^  Lord  Lytton  lived  here 
for  some  years  before  his  death.  The  author  of  The 
Last  Days  of  Pompeii  seems  to  have  shared  the  opinion 
of  Horace  Walpole  as  to  the  "Adam  harlequinades/' 
for  he  had  the  elegant  mouldings,  friezes,  and  cornices  all 
disguised  in  dull  Pompeian  colours,  one  room  being 
called  the  Pompeian  room.  After  Lord  Lytton's  death, 
about  twenty  years  ago,  the  present  owner  bought  it,  and 
with  commendable  good  taste  abolished  the  relics  of 
Herculaneum  and  restored  the  Georgian  character  of 
the  house.  There  is,  however,  a  superabundance  of 
gilding.  Fortunately  each  reformer  spared  Angelica's 
ceilings,  which  are  exquisite  in  the  softness  of  their  colour 
and  delicacy  of  treatment.  The  large  ovals  represent  in 
the  front  drawing-room,  Venus  attired  by  the  Graces,  in 
the  back  room,  Apollo  playing  the  lyre  to  his  com- 
panions ;  while  the  smaller  ovals,  charming  little  gems, 
display  the  most  enchanting  Cupids  and  graceful 
Nymphs. 

Inan  inner  room  on  thesame  floor  there  are  two  "sopra- 
*  See  page  416. 


412  Appendix. 


portas/'  also  by  our  artist,  as  fresh  as  if  done  yester- 
day, in  which  the  favourite  Chariot  of  Venus  reappears, 
drawn  by  the  most  enticing  Cupids. 

There  is  also  an  allegorical  picture  by  Angelica  of 
herself  as  Sappho. 


VI. 

39,  Berkeley  Square. 

This  house,  which  has  recently  been  sold  by  Lord 
Downe  to  Mrs.  Hartmann,  is  a  thoroughly  sound  speci- 
men of  the  Georgian  era.  It  was  built  by  Adam,  and 
some  of  his  best  work  is  here.  Nothing  can  surpass  the 
beauty  of  the  ornamentation  on  the  friezes,  enriched 
with  motley  masks  and  strange  devices  of  all  kinds,  and 
the  well-known  Adams'  Fillings,''  as  they  are  called. 
So  too  with  the  ceilings,  two  of  which  are  octagon  in 
shape  and  wonderful  in  elegance  of  design  and  ornament. 
Doors,  mouldings,  cornices  likewise,  are  in  excellent  taste 
and  are  made  for  use  as  well  as  for  ornament. 

Like  most  houses  of  the  last  century,  39  has  had  its 
vicissitudes.  In  the  ^'  dark  ages  "  the  hand  of  the  spoiler 
was  busy  destroying  all  of  beauty,  and  replacing  it  by 
the  tasteless  improvements  then  in  fashion.  In  this  way 
the  elegant  mouldings  were  disfigured  by  coat  upon  coat 
of  paint,  until  the  original  design  became  utterly  lost/ 

^  This  painting  over  of  ornamentations  was  very  common  from 
1830,  at  which  period  the  "  dark  ages    began.    In  this  instance  the 


Appendix. 


413 


while  other  malpractices  were  used  in  regard  to 
friezes  and  ceilings.  No.  39  has  now,  however,  come  into 
good  hands,  and  the  work  of  restoration  will  be  complete. 
It  is  somewhat  to  be  regretted  that  in  the  beautifully 
panelled  library,  or  reception-room,  the  old  style  is  to 
be  replaced  by  a  Louis  XVI.  decoration.  The  white 
octagon  morning-room  and  the  octagon  drawing-room 
are  specially  noticeable ;  the  first  has  a  pure  Adam 
ceiling,  beautiful  in  its  design ;  the  second  is  a  splendid 
piece  of  work,  the  panels  (ovals)  being  painted  by 
Angelica  most  exquisitely.  They  are  soft  in  colour, 
graceful  and  harmonious  in  grouping,  and  excellently 
restored.  The  centre  oval  (through  which  some  Goth 
had  run  a  gas-pipe  !)  represents  the  nymph  Euphrosyne 
disarming  Cupid ;  the  smaller  ovals,  which  are  inter- 
spersed between  the  ornamentation  of  the  ceiling,  display 
a  series  of  Nymphs  and  Cupids :  the  whole  thing  is  a 
feast  to  the  eye  as  a  work  of  art. 

The  chimney-pieces  cannot  be  passed  over  without  a 
word  of  admiration.  They  are  the  work  of  Wedgwood 
with  all  his  elegance  of  shape  and  design,  and  with  the 
coloured  flutings  which  are  his  characteristic. 

This  house  when  finished  will  be  a  rare  treat  to  those 
who  understand  and  reverence  such  relics  of  the  days 
when  art  was  present  in  every  curve,  cornice  and  mould- 
wood  has  had  to  be  scraped  and  pickled  down  to  get  at  the  original 
design,  which  was  concealed  by  layers  of  paint.  It  is  a  fact  that  in 
many  houses  of  the  Georgian  era  the  beautiful  Adam  doors  have 
been  taken  off  and  thrown  into  a  stable,  and  the  Wedgwood 
chimney-pieces  replaced  by  marble  or  velvet-covered  mantel-boards. 
So,  too,  with  old  panellings  and  surbases  ;  and  in  many  instances 
ceilings  have  been  painted  over  or  gilt,  and  gas-pipes  run  through 
the  centre  plaques. 


4 1 4  Appendix. 


ing,  and  when  the  true  principle  was  observed  of  making 
everything  for  use  as  well  as  for  ornament.  That  principle 
is  now  utterly  neglected.  Hence  the  reproductions  of  the 
Adam  or  Inigo  Jones  ornamentations  are  failures. 


VII. 

The  Arts  Club,  Hanover  Square. 

Hanover  Square  and  its  neighbourhood  forms  an  inter- 
esting region  peopled  by  many  recollections,  as  of  the 
old  Hanover  Square  rooms,  once  the  great  musical  centre, 
where  Bach  led  the  orchestra  and  George  IH.  loved  to 
come  and  listen.  Fashionable  concerts  were  given  even 
so  lately  as  ten  or  fifteen  years  ago,  although  the  rooms 
were  then  getting  into  the  sear  and  yellow  condition,  and 
marked  down  for  sale.^  Opposite  to  the  Hanover  Square 
rooms  is  the  Arts  Club,  established  in  1873.  The  house 
is  an  old  one ;  there  is  a  good  deal  of  panelling,  and  a 
general  air  of  having  a  history^  but  so  far  what  its  story  is 
has  not  been  ascertained.  The  Square  is  out  of  fashion, 
and  its  fine  houses  are  mostly  clubs,  or  inhabited  by  pro- 
fessional men;  but  in  Angelica's  day,  several  of  the 
nobility  lived  there.  At  23  her  first  royal  patroness,  the 
Duchess  of  Brunswick,  lived  for  many  years,  and  died 
there.  In  the  Arts  Club  we  find  two  ceilings,  one 
painted  by  Angelica  is  an  oval  representing  Aurora" 

^  The  old  house  has  been  converted  into  a  club.  No  15,  George 
Street,  Hanover  Square  (now  occupied  by  the  eminent  physician 
Dr.  Kidd),  a  house  of  the  Georgian  era,  has  a  panel  let  in  over 
the  mantel-piece,  which  has  very  much  the  mark  of  Zucchi's  paint- 
ing.   There  is,  however,  no  definite  information  concerning  it. 


Appendix. 


415 


after  Guido.^  It  is  well  painted,  the  colouring  good.  In 
the  other  room,  which  is  a  very  delightful  library, 
or  reading-room,  the  ceiling  is  an  olla  podrida  of  styles 
and  hands,  in  which  anyone  conversant  with  John  Joseph 
can  recognize  his  touch.  Zucchi  is  also  present,  and 
if  Angelica  did  have  a  share,  and  doubtless  she  had,  it 
must  be  said  she  is  not  much  better  than  the  others. 
Still,  the  effect  is  good  :  the  varnish  is  high,  and  the 
whole  performance  forcibly  recalls  an  old  art,  once  much 
practised,  of  transferring  prints  to  tables,  etc.,  which  is 
now  utterly  forgotten,  but  which  can  be  still  seen  in  some 
old  houses  of  the  last  century. 


VIII. 

Arlington  House,  23,  Arlington  Street. 

When  this  fine  old  house  was  taken  down  some  few 
years  ago,  it  was  stated  that  the  drawing-room  ceil- 
ing had  been  whitened  over  to  conceal  a  painting  by 
Angelica,  and  that  the  owner,  Lord  Walsingham,  finding 
it  was  on  canvas,  had  it  carefully  removed.^ 


IX. 

Dowager  Lady  Freake,  30,  Cranley  Gardens. 

Lady  Freake  is  well  known  as  a  collector  of  pictures 
and  rare  engravings.    Her  four  Angelicas  are  exception- 

1  This  subject  was  evidently  the  inspiration  of  Angelica's  picture 
of  Venus  drawn  in  her  Chariot  by  Cupids,  which  had  a  great 
success,  and  was  engraved  both  by  Marcuard  and  Rose  Lenoir. 

2  Lord  Walsingham,  writing  to  Miss  E.  Vernon  Harcourt,  states 
that  he  never  heard  of  the  ceiling,  but  that  a  very  coarse  and  badly 
painted  frieze  was  taken  down. 


4i6 


Appendix. 


ally  good.  They  formed  part  of  the  decorations  of  the 
Earl  of  Derby's  house  ^  in  Grosvenor  Square.  Two 
were  certainly  sopra  portas  "  from  their  shape.  These 
are  ^*  Cupid  and  Aglaia/'  and  "  Cupid's  Pastime.'*  The 
others  are  nymphs  carrying  garlands ;  and  Venus  on  a 
couch  counselling  Helen,  to  fly  with  Paris,  whom  Cupid 
leads  by  the  hand  into  the  room. 


No,  20^  St.  James's  Square,  the  Dowager  Lady 
Williams-Wynn's  House. 
There  are  many  reminiscences  called  up  when  we 
enter  the  precincts  of  this  stately  square,  with  its  grand 
ducal  mansions  representing  the  houses  of  Norfolk^ 
Marlborough,  Cleveland.  Here,  round  and  round 
through  the  long  hours  (fortunately)  of  a  summer's  night, 
walked  Johnson  and  Savage,  both  homeless  and  hungry, 
but  by  no  means  depressed.  In  connection  with  the 
Square,  Johnson  was  fond  of  repeating  the  following 
lines  : — 

"  When  the  Duke  of  Leeds  shall  married  be 
To  a  fine  young  lady  of  high  quality. 
How  happy  will  that  gentlewoman  be 
In  his  Grace  of  Leeds'  good  company ! 
She  shall  have  all  that's  fine  and  fair,  • 
And  the  best  of  silk  and  satin  shall  wear, 
And  ride  in  a  coach  to  take  the  air, 
And  have  a  house  in  St.  James's  Square." 


^  Lord  Derby's  house  was  one  of  the  most  beautifully  decorated 
houses  in  London ;  the  ornaments  of  the  pedestals,  circles,  and 
panels  of  doors  were  all  of  the  highest  class  of  decoration.  It  is 
minutely  described  in  the  architectural  works  of  Adam,  to  the 
furniture  in  Lady  Derby's  dressing-room, 


Appendix,  417 

Here,  too,  on  another  June  night,  when  a  ball  was  going 
on  at  Mrs.  Boehm's,  came  rushing  up  at  tearing  speed 
Major  Percy,  with  the  news  of  the  battle  of  Waterloo. 
What  a  scene  was  there  !  how  the  ball  was  interrupted — 
how  Major  Percy  told  his  tale — what  grief  and  distrac- 
tion it  brought  to  many  who  had  been  laughing  only  a 
moment  before.  It  was  a  dearly-bought  victory  to  these. 
Mrs.  Boehm's  house  was  on  the  south  side,  so  was 
Lord  Radnor's,  elegantly  decorated  by  the  French  artist, 
Laguerre. 

The  Dowager  Lady  Williams-Wynn's  house  is  one 
of  the  finest  specimens  of  Adam's  work  in  London. 
Every  cornice  and  curve  has  its  use,  each  medallion  is 
elegant  in  design,  all  the  ornamentations  and  mouldings 
are  graceful  and  to  the  purpose.  The  house  was  built 
in  1 77 1.  The  same  year  Sir  Watkin  W.  Wynn  married 
Miss  Charlotte  Grenville.  He  spared  no  expense  in 
making  No.  20  beautiful.  The  ceiling  of  the  dining-room,^ 
which  is  altogether  Adam  in  design,^  is  enlivened  by 
ovals  painted  on  foolscap  paper  by  Angelica,"^  and  alle- 
gorical in  subjects.  The  centre  one  represents  the  story 
of  Alexander  resigning  his  mistress  Campaspe  to  Apelles. 
It  is  very  beautiful,  being  soft  in  colour  and  the  design 
good.  The  smaller  ovals  represent  some  of  the  fine  arts. 
There  are  about  fifteen.  The  sopra-porta  represents  a 
sacrifice  to  the  God  Pan. 

^  The  dining-room  was  originally  the  music-room,  and  here  the 
splendid  organ  used  to  stand  ;  this  has  been  removed  to  the  family 
seat  in  the  country. 

2  The  height  of  the  Adam  ceilings  was,  as  a  rule,  very  favour- 
able to  Angelica's  work,  as  the  distance  at  which  the  spectator  is 
conceals  any  deficiency  in  the  outlines.  Sir  Watkin  was  a  strong 
admirer  of  the  Adam  brothers.  lie  went  so  far  as  to  melt  down 
some  Queen  Anne  plate  and  have  it  re-made  after  their  designs. 

^  This  was  discovered  when  the  ceiling  had  to  be  repaired. 

E  e 


41 8  Appendix. 

In  a  smaller  room  on  the  same  floor  there  is  a  de- 
licious ceiling  painted  in  monochrome  attributed  to 
Cipriani.  This  room  is  full  of  objects  of  art,  old  minia- 
tures, china,  etc.,  and  in  the  adjoining  room,  used  as 
Lady  Wynn's  bedroom^  there  is  a  dressing-table  service 
of  old  plate  of  the  quaintest  pattern.^ 

We  now  go  up  the  fine  staircase,  and  passing 
through  the  spacious  vestibule  (Adam  never  stinted 
space  on  landings),  we  enter  the  large  drawing-room,  or 
ball-room,  where  the  splendour  of  the  carved  ceiHng 
and  the  character  of  the  decoration  takes  one's 
breath  away.  Every  portion  of  its  spacious  arches  is 
covered  with  ornamentation  in  different  styles,  but  all 
blending  harmoniously.  To  do  it  justice  by  description 
is  impossible,  and  even  a  photograph  would  give  little 
idea  of  its  beauty.  There  are  six  panels,  allegorical  sub- 
jects, long,  not  oval  in  shape  ;  the  remaining  spaces 
being  filled  in  with  Egyptian  scrolls  and  quaint  devices. 

Mr.  Miintzer,  of  Dover  Street,  has  recently  restored 
the  ceiling  and  re-papered^  this  room  in  excellent 
taste.  He  was  able  to  make  a  close  inspection 
of  the  work,  and  says  that  it  is  evidently  by 
different  hands,  the  panels  being  far  superior  to  the 
scrolls,  figures  and  ornamentations.  Most  probably 
Zucchi  and  John  Joseph  assisted  Angelica.  The  panels 
present  many  of  her  favourite  subjects.  The  Chariot  of 

1  In  the  library  there  is  a  large  portrait  by  Dance  of  Garrick  as 
Richard  III.  When  the  painter  became  Sir  Nathaniel  Dante- 
Holland  he  offered  one  thousand  pounds  to  have  it  back !  The 
ornamentation  of  this  room  is  in  the  shape  of  fans  at  each  corner  of 
the  ceiling  :  the  centre  medallion  represents  Sappho  discoursing  with 
Homer ;  the  other  medallions,  four  in  number,  represent  Angelica 
listening  to  the  Muse,  Composition,  Design,  and  Invention. 


Appendix. 


419 


Venus,  Diana  and  nymphs  preparing  to  hunt.  There  are 
two  which  it  does  not  appear  she  ever  treated  before,  one 
is  of  Aphrodite  rising  from  the  sea  ;  and  from  this 
circumstance  and  the  peculiar  colour  of  the  blue  back- 
grounds, might  be  formed  the  conclusion  that  Cipriaiji, 
who  often  worked  for  Adam,  had  some  hand  in  the 
ceiling.^ 

In  this  room  the  panels  of  the  doors  (which  are  of 
singular  beauty)  are  also  painted.  This  work,  which 
unfortunately  is  so  close  to  the  eye,  is  most  unworthy  of 
its  surroundings.  It  is  certainly  not  by  Angelica, 
Cipriani,^  or  even  Zucchi ;  or  if  it  were  originally  done 
by  either  of  these  artists,  it  had  got  blurred,  and  in  the 
effort  to  restore  it  has  been  altogether  defaced,  especially 
the  nymphs,  who  hang  their  limbs  in  a  purposeless 
sort  of  manner.  The  chimney-piece  of  white  marble  is 
splendid,  the  centre  being  from  a  design  of  Angelica's. 

It  is  pleasant  to  think  this  fine  old  house  is  so  valued 
by  its  owner,  and  kept  in  excellent  preservation. 


XT. 

Cambridge  House,  Regent's  Park.    Mr.  Walter 
Gilbey's  House. 
Here  there  are  two  beautiful  chimney-pieces,  the  frontis- 
pieces painted  by  Angelica.    The  one  in  the  second 

^  The  smaller  ovals  round  the  room  are  distinctly  Cipriani's,  and 
there  is  little  doubt  he  likewise  painted  the  three  panels  on  the  ceiling. 

2  On  a  second  visit  to  No.  20  I  find  the  doors  much  improved  ; 
they  have  been  carefully  touched.  The  defacement  of  the  original 
work  was  due  to  some  country  artist  who  was  employed  in  the 
restoration  many  years  ago.  He  also  meddled  with  the  back- 
grounds of  the  panels  on  the  ceiling,  introducing  colours  which  have 
turned  almost  black.  The  design  of  this  ceiling  resembles  Adam's 
design  for  Carlton  House. — Sec  Adams'    Works  in  Architecture." 


420  Appendix. 


drawing-room  is  the  best ;  it  represents  Fortitude  and 
the  lion.  Fortitude  is  a  portrait  of  the  artist.  Mr. 
Gilbey  has  also  a  most  interesting  relic,  a  clavichord,  the 
plaques  of  which  are  admirably  painted  by  Angelica. 

Some  of  the  pieces  of  furniture  supposed  to  be  painted 
by  either  Angelica,  Cipriani,  or  Cosway,  are  simply 
modern  work,  as  is  often  the  case  with  the  so-called 
Sheraton  and  Chippendale  furniture,  of  which  there 
is  said  to  be  a  large  manufacture  in  this  country.^ 
Some  people,  however,  are  fortunate  enough  in  possess- 
ing the  real  thing,  and  Mr.  Gilbey' s  clavichord  is  a 
genuine  antique. 

Lord  Portarlington  possesses  at  Emo  Park  a  table 
painted  by  Angelica  for  his  ancestor.  Lord  Milton.  Lord 
Spencer  has  a  cabinet.  For  the  Empress  Catherine  of 
Russia  she  painted  a  harpsichord. 


XIL 

OsTERLEY  Park,  the  Seat  of  the  Earl  of  Jersey, 
NEAR  Brentford,  Middlesex. 

Decorated  principally  by  Zucchi  in  1781,  assisted  by 
Angelica,  and  probably  by  her  father. 

Waagen  says  one  apartment  was  entirely  embellished 
by  him,  and  in  another  room  the  frieze  was  the  work  of 
Angelica. 

Taylor^  says,  **The  chamber  decorations  at  Osterley 

^  Mr.  Phillips,  of  Bond  wStreet,  says  that  hardly  a  week  passes 
without  pieces  of  furniture  being  brought  to  him  for  sale,  supposed 
to  be  ]3ainted  by  some  of  the  well-known  artists  of  the  last  century  ; 
Angelica  being  the  favourite,  probably  because  she  was  the  more 
easily  imitated. 

^     Records  of  a  Life.*' 


Appendix.  421 


are  very  inferior  art.  A  series  of  views  in  Tempera. 
Another  apartment  of  this  great  house  was  decorated  in 
body  colour  by  Angelica  Kauffmann." 


XIII. 

Luton  House,  or  Luton  Hoo.^ 

Rebuilt  by  the  brothers  Adam  for  Lord  Bute,  and 
partially  burned  down  in  1843.  It  was  decorated  by 
Zucchi  and  Angelica.  There  still  remains  a  chimney- 
piece  of  her  design  from  the  Tempest — Ferdinand  and 
Miranda. 


XIV. 

Belvedere,  Kent,  formerly  the   Seat  of  Sir 
Culling  Eardley,  Bart. 

Waagen  says  the  dining-room  at  Belvedere  is  decorated 
with  thirteen  pictures  by  Angelica  Kauffmann,  let  into  the 
walls,  which,  by  their  pleasing  composition  and  cheerful 
colouring,  have  an  agreeable  effect.  They  were  painted 
for  Lord  Eardley ;  and  also  the  portrait  of  Lady  Eardley, 
now  in  possession  of  Sir  T.  Blomefield,^  one  of  her  most 
charming  and  dignified  portraits. 


XV. 

At  a  house  in  Liverpool  a  ceiling  painted  by  Angelica, 
subject,  Selim  addressing  the  Persian  nymphs,  was 
disposed  of  quite  recently  by  private  sale. 

^  Luton  Hoo  now  belongs  to  Monsieur  and  Mdme.  de  Falb  . 
2  See  Catalogue,  under  B. 


42  2  Appendix. 


Ireland. 

Rathfarnham  Castle,  near  Dublin,  formerly  Lord  Ely's, 
now  in  the  possession  of  Mr.  Blackburne ;  Lord  Meath's 
house,  now  the  Church  Temporalities,  Dublin;  Dr. 
Mahaffy's  house^  North  Great  George's  Street,  Dublin, 
have  all  ceilings  and  panels  painted  by  Angehca  during 
her  visit  to  Ireland.  For  description  of  these,  see 
Chapter  VI. 

This  is  all  of  her  work  that  can  be  traced  in  Ireland, 
but  doubtless  there  was  much  more  which  through 
neglect  got  injured  or  was  painted  over. 

A  word  must  be  said  of  Lord  James  Butler's  house, 
1 8,  Rutland  Square,  Dublin,  which  was  built  by  Lord 
Farnham  in  1774.  This  date  being  three  years  later 
than  Angelica's  visit  to  Dublin,  would  seem  to  make  the 
decorations  of  the  ceiHngs  attributed  to  her  impossible ; 
still  it  may  be  that  (as  she  painted  her  decorations 
always  on  either  canvas  or  foolscap)  she  executed  the 
commission  in  London  and  sent  it  over  to  Dublin.  The 
centre  panel  of  the  ceiling  is  allegorical,  the  four  side 
panels  are  round,  and  represent  the  Seasons. 

Lord  James,  who  is  a  virtuoso,  has  likewise  some 
beautiful  cabinets,  the  undoubted  work  of  Angelica. 
They  were  originally  intended  for  the  panels  of  sedan 
chairs,  and  are  highly  decorated ;  one  cabinet  has  yellow 
panels  with  artistic  arabesques,  the  other  cupids,  most 
gracefully  and  prettily  drawn. 


NosTELL  Priory,  the  Seat  of  Lord  St.  Oswald. 

Nostell  Priory,  the  residence  of  Lord  St.  Oswald,  is 
situated    between   Wakefield  and   Normanton.  An 


Appendix,  423 


admirable  series  of  article  in  the  Athenceum  of  1880 
deals  exhaustively  with  the  delightful  old  place  and  its 
wealth  of  pictures,  including  the  Sir  Thomas  More,  by 
Holbein,  over  which  so  much  discussion  took  place. 
There  is  an  unusually  large  proportion  of  good  pictures 
at  the  Priory.  Poussin,  Claude,  Paul  Veronese,  Titian, 
are  all  represented.  Likewise  Angelica  comes  in  for  a 
full  share — not  that  the  writer  of  the  articles  in  question 
has  much  to  say  in  her  favour.  He  speaks  somewhat 
contemptuously  of  her  gentle  art,"  at  the  same  time 
acknowledging  her  uniform  gracefulness  and  elegance. 

There  is  a  vast  amount  of  decoration  at  the  Priory. 
Three  rooms  with  about  thirty  paintings,  panels,  ceilings, 
etc.  Most  of  these  are  attributed  to  Angelica,  but  this 
is  not,  I  fancy,  the  fact.  The  greater  portion  was  the 
work  of  Zucchi,  who  was  sent  down  to  the  Priory  by  the 
brothers  Adam,  who  were  largely  patronized  by  Sir  Row- 
land Winn,  who  was  then  the  owner  of  Nostell.  He  was 
engaged  on  different  works  of  decoration  from  1767,  and 
was  paid  in  sums  varying  from.  100/.  to  over  600/.^  He 
executed  four  large  pictures  of  ruins  about  six  feet  high, 
in  which,  it  is  said,  he  was  helped  by  Angelica.  This 
may  be  the  case.  Zucchi's  letter,^  however,  to  Sir  Row- 
land Winn,  which  will  be  found  on  page  172,  proves 
that  up  to  1780  she  was  unacquainted  with  Sir  Rowland. 
No  doubt  after  this  and  previous  to  her  marriage  she 
did  go  to  Nostell,  for  we  are  told  that  she  was  a  great 
favourite  with  the  baroriet  and  his  family,  and  constantly 
stayed  at  the  Priory.    Some  of  her  work  is  there,  and 

^  Lord  St.  Oswald  has  the  receipts  signed  by  Zucchi,  The 
last  in  1780. 

2  Sent  to  the  writer  by  the  late  Lord  St.  Oswald. 


424  Appendix. 


as  fresh  as  the  day  it  was  done.  There  are  six  small 
pictures  by  her^  the  subjects  would  seem  to  be  her 
favourite  shepherds  and  shepherdesses  dancing.  There  is 
the  usual  background  of  trees  ;  also  the  round  or  oval 
panels  in  the  ceilings  are  repeated  with  her  usual  variety 
of  cupids,  all  in  excellent  condition. 


Devonshire  Place  House,   Marylebone  Road, 
THE  Residence  of  Joseph  Pyke,  Esq. 

In  the  days  when  Angelica  lived  in  Golden  Square, 
there  lay  a  dreary  waste  between  where  Cavendish 
Square  now  stands  and  the  village  of  Marylebone,  some- 
times called  Harley  Fields.  In  1772  the  now  populous 
thoroughfare  of  Duke  Street  was  not  built,  and  Maryle- 
bone itself  was  considered  the  country.  Mr.  Smith,  in 
his  Rainy  Day,"  tells  his  readers  that  it  was  inhabited 
by  families  of  distinction,  who  kept  their  coaches.  The 
old  Manor  House,  built  it  is  said,  by  Inigo  Jones,  which 
was  well  known  as  Mr..  Fountaine's  Academy,  stood 
on  the  same  side  of  the  road  as  the  house  which  we  are 
about  to  visit,  facing  the  Marylebone  Church,  in  High 
Street,  where  Byron  and  many  notables,  were  christened, 
amongst  them  Nelson's  daughter  Horatia.  Devonshire 
Place  House  is  a  good  specimen  of  the  Adam  brothers  ; 
it  is  substantial  and  yet  elegant.  It  stands  in  a  sort  of 
courtyard,  with  a  fine  garden  at  the  back.  Inside  there 
is  a  quaint  circular  hall  with  a  mosaic  pavement  and 
a  narrow  corridor  leading  to  the  reception  rooms,  all 
on  the  ground  floor.  Here  we  have  the  fine  old 
mahogany  doors  of  the  last  century^  enriched  with  rare 
entablatures  of  ornamental  brass,  curious  of  device. 


Appendix. 


425 


The  rooms  are  not  large,  and  somewhat  low,  but  there 
are  many  of  them,  and  they  open  one  into  another.  The 
ceilings,  which  were  in  a  bad  state  when  Mr.  Pyke  took 
the  house,  have  been  restored.  There  is  no  definite 
idea  as  to  who  painted  them,  but  they  have  a  decided 
similitude  to  Angelica's  style,  especially  the  one  in  the 
drawing-room,  which  presents  the  well-known  Chariot  of 
Venus.  The  old  house,  which,  it  is  said,  belonged  to 
the  Devonshire  family,  has  fallen  into  good  hands.  Mr. 
Pyke  is  a  virtuoso,  and  his  collection  of  paintings,  china, 
and  curios  is  delightful  to  those  who  enjoy  such  things. 
Amongst  other  relics  of  bygone  times,  he  possesses  a 
quaint  Chippendale  stand  containing  the  fiecessaire  de 
toilette  of  a  lady  of  fashion  ;  small  jng  and  basin  in  deli- 
cate china,  and  a  drawer  where  the  cosmetics  were  kept 
handy  for  use.  In  the  matter  of  paintings,  we  have 
a  small  gallery  to  look  at :  amongst  them  four  of  Smirke's 
Shakespearian  pieces.  All  indeed  are  excellent.  There 
are  five  of  Angelica's,  for  whose  pictures  Mr.  Pyke  had, 
when  a  boy,  conceived  an  almost  romantic  affection,  from 
looking  at  prints  from  her  works  in  his  father's  house. 
His  present  collection  came  from  the  Rushout  sale. 
Nathan  and  David,  Jeroboam's  wife  listening  to  the 
Prophet  Ahijah,  as  also  the  Temple  of  Guidus,  hang 
in  the  dining-room.  In  the  drawing-room  we  find  over 
the  doors  two  more  Angelicas,  beautiful  specimens, 
painted  during  her  stay  in  Rome,  for  her  good  patron, 
Mr.  Bowles.  The  colouring  is  soft,  and  the  pictures 
most  Kauffmannesque.  One  is  **The  Nymph  Egeria 
advising  Numa  Pompilius ;  "  the  other  Venus  chiding 
Ganymede."  In  both  the  female  figure  is  perhaps 
somewhat  too  tall  for  the  picture,  but  this  defect  is  lost 


426 


Appendix, 


sight  of  in  the  general  effect.  They  are  quite  in  keeping 
with  the  interesting  old  house  and  its  artistic  contents, 
amongst  which  we  must  not  omit  to  mention  Thorwald- 
sen's  Calypso.''  This  lovely  statue  Mr.  Pyke  has 
placed  in  a  home  of  its  own,  carefully  curtained  from 
the  eyes  of  the  profane.  It  was  specially  built  for  the 
purpose,  and  here  on  special  occasions,  with  light 
artistically  let  in  from  the  top,  Thorwaldsen's  master- 
piece smiles  softly  upon  her  admirers. 

Also  decorations  for  the  houses  of  the  Dowager 
Countess  Home,  and  the  Earl  of  Bathurst. 

Some  house  in  Russell  Street,  Bloomsbury,  is  said  to 
be  decorated  by  Angelica  Kauffmann^  but  no  accurate 
information  has  been  received  by  compiler. 


20,  PoRTMAN  Square,  ^the  Residence  of  the 
Misses  Goldsmid. 
Here  is  a  splendid  mansion  in  the  very  best  style  of 
the  brothers  Adam,  with  their  train  of  skilled  statuaries, 
decorators,  and  workmen.  It  was  built  for  the  Duke  of 
Newcastle,  who,  with  the  reckless  magnificence  of  the 
noblemen  of  his  time,  spared  no  expense  in  the  fitting  up 
of  this  fine  house.  When  we  come  to  reflect  upon  these 
men,  who  played  such  a  part  in  the  history  of  the  four 
Georges,  we  can  find  much  to  admire.  These  fine 
gentlemen  of  loose  morals  and  extravagant  habits  had 
some  grand  qualities  ;  they  were  brave  men,  splendid 
statesmen,  generous  patrons  of  art ;  and  if  they  squan- 
dered their  fortunes,  they  at  least  left  to  us  of  this 
generation  memorials  of  good  taste  and  artistic  instincts. 


Appendix.  427 

No.  20  stands  upon  the  same  side  of  the  square 
as  Lord  Portman's  fine  house  ;  its  portico  and  pillars 
distinguish  it  fi-om  its  neighbours,  which  are  not  so  pre- 
tentious, and  it  has  a  grave  and  dignified  air,  as  befitting 
the  residence  of  so  exalted  a  personage  as  Henry  Duke 
of  Newcastle^  The  Duke  had  come  recently  to  his 
strawberry  leaves  when  he  built  this  mansion.  He  had 
inherited  it  and  a  large  fortune,  and  was  a  man  distin- 
guished for  his  fine  taste,  and  for  other  matters  not  quite 
so  creditable  to  his  memory.  Lady  Mary  Wortley 
Montagu  was  said  to  have  been  much  attached  to  him, 
but  her  heart  went  out  to  a  great  many  people.  Perhaps 
the  finest  staircase  ever  built  by  the  Adams  is  here ;  it  is 
truly  magnificent,  elegant  in  its  proportions,  and  Grecian 
in  design.  The  broad  stairs  in  front,  the  double  flight 
on  each  side,  the  circular  light  from  the  top,  give 
it  an  imposing  character,  which  is  added  to  by  the 
niches  in  the  wall  holding  large  statues,  life-size.  These 
niches  are  surmounted  by  oval  panels  of  Wedgwood's 
elegant  designs,  on  a  pale  blue  background,  the  effect 
being  most  harmonious.  As  one  looks  at  this  grand 
staircase  the  imagination  peoples  it  with  the  forms  of 
those  who  in  their  day  often  trod  these  steps.  In  the 
morning  the  hangers-on  of  my  lord  Duke,  intent  on 
getting  places  or  money  from  him,  the  poor  men  of 

^  Henry,  Earl  of  Lincoln,  married  Catharine  Pelham,  daughter 
and  heiress  to  Pelham,  the  minister.  The  Duke  of  Newcastle- 
under-Lyme  was  her  uncle  ;  the  dukedom  descended  to  the  Earls  of 
Lincoln.  The  previous  dukes  had  lived  in  Lincoln's  Inn  Fields, 
corner  of  Queen  Street.  Portman  Square  was  in  the  last  century  a 
very  aristocratic  residence.  The  Duke  of  Hamilton  lived  at  No.  12, 
and  nearly  every  house  was  occupied  by  a  noble  family.  It  still 
keeps  up  its  prestige,  the  size  of  the  houses  making  it  obligatory  that 
they  should  be  rented  by  persons  of  wealth  and  position. 


428 


Appendix. 


letters,  the  needy  artists^  and  so  forth.  Later  on  would 
come  her  Grace's  visitors,  descending  from  their  coaches 
and  sedan  chairs.  W e  see  them  ascending  and  descending 
in  their  hoods,  the  sweet  saucy  beauties  of  that  day,  all 
patchesand  powder, hoops  and  brocades;  HoraceWalpoIe 
paying  his  court  as  he  conducts  the  Countess  of  Upper 
Ossory  ;  and  the  Duke  himself,  leading  sprightly,  witty 
Lady  Mary  Wortley,  who  is  retailing  a  somewhat  risky 
story.  Ah  !  they  are  gone,  and  the  staircase  is  empty. 
Let  us  look  at  the  reception  rooms. 

On  the  first  floor  there  are  three  fine  spacious  apart- 
ments: the  morning-room,  dining-room,  and  library,  which 
is  connected  with  the  latter  by  a  closet,  possibly  the 
''powder"  closet.  The  doors  are  all  of  mahogany,^ 
with  the  old-fashioned  inlaid  brass  plates.  There  is  a 
great  amount  of  ornamentation  of  the  best  adamesque 
design,  light  and  beautiful.  There  is  a  wealth  of 
decoration  all  through  the  house,  the  drawing-room 
being  likewise  highly  decorated  with  the  addition  of 
much  gilding. 

That  in  this  work  different  hands  were  employed  by  the 
Adams  is  more  distinctly  evident  here  than  in  the  other 
houses  we  have  been  visiting.  One  room,  the  dining-room^ 
is  attributed  to  Angelica,  and  in  this  only  the  centre  panel 
of  the  ceiling  ;  the  morning-room  is  said  to  be  done  by 
Zucchi.  The  oval  over  the  chimney-piece,  however,  is  by 
no  means  in  his  flat  sign-board  style :  it  has  traces  of 
Angelica's  more  harmonious  treatment;^  so,  too,  with  the 

1  The  hall  door  (or  portes-baitant  rather)  is  likewise  of 
mahogany. 

2  It  is  either  the  original  or  a  copy  of  her  picture  Erminia,'* 
engraved  by  Bartolozzi. 


Appendix.  429 

centre  panel  of  this  ceiling,  which  represents  her  oft- 
repeated  subject  Venus  counselling  Helen."  There  are 
several  panels  by  Cipriani,  his  lighter  backgrounds  and 
soft  pleasing  touch  being  easily  distinguished.  The 
Four  Seasons  "  are  his  work  ;  the  chimney-pieces  are  in 
keeping  with  the  elegance  of  the  house.  They  are  of 
beautiful  design  and  execution.  One,  in  particular,  in 
the  library  calls  for  special  mention  :  the  panel  or  painting 
over  this  is  somewhat  in  Barry's  style ;  but  there  is  no 
definite  certainty  as  to  any  of  the  work  beyond  the  fact  that 
it  was  done  by  the  usual  artists  employed  by  the  Adams, 
Zucchi,  Cipriani,  and  Angelica,  with  their  assistants, 
whoever  they  may  have  been.  We  may  believe  with 
tolerable  certainty  that  Hamilton  had  a  hand  in  most  of 
the  house  decorations,  and  that  John  Joseph  occasion- 
ally was  employed ;  but  one  would  like  to  know  more 
details  of  the  work,  which,  however,  do  not  appear  to 
exist.  Perhaps  they  may  turn  up  some  day,  and  will 
be  most  interesting.^ 

Had  Robert  and  James  Adam  completed  the  record 
they  commenced  of  the  houses  built  by  them,  we  should 
have  had  a  splendid  contribution  to  the  history  of  the  last 
century.  The  three  large  volumes  they  left  contain  only 
a  part  of  the  work  they  did  ;  these  cause  a  real  regret  that 
they  did  not  finish  what  they  began  so  well.  Strangely 
enough,  the  only  artist  they  mention  is  Antonio  Zucchi,  ^ 

^  Two  very  interesting  notices  of  Somerset  House  have  lately 
been  contributed  to  the  *' Journal  of  British  Architects"  by  Mr. 
Wyatt  Papworth,  curator  of  the  Soane  Museum,  from  which  I  have 
quoted  on  page  44. 

2  Zucchi  had  been  enjTaged  in  decoratin<T  houses  for  the  Adams 
from  1767.  Angelica  did  not  work  for  the  brothers  Adam  until 
after  her  return  from  Ireland  in  1 77 1,  when  she,  too,  entered  upon 
this  branch  of  the  profession. 


430 


Appendix. 


for  whose  abilities  they  appear  to  have  much  respect, 
based  no  doubt  on  their  early  friendship,  when  as  young 
men  they  travelled  together  in  Italy.  Zucchi  was  no 
doubt  a  respectable  draughtsman,  and  probably  more 
submissive  as  a  copyist  of  the  brothers'  designs  than 
artists  of  more  imagination.  He  painted  all  manner  of 
ornaments,  pilasters,  circles,  panels  of  doors,  etc.,  for 
Sion  House,  and  the  furniture  of  Lady  Derby's  dressing- 
room. 

The  Adam  style  was  a  profuse  use  of  ornament,  perhaps 
too  much  so,  which  may  have  caused  the  reaction  to 
the  bald,  cheerless  apartments  which  distinguished  the 
earlier  portion  of  this  century.  The  introduction  of  gas 
had  much  to  do  with  the  painted  ceiling  going  out  of 
fashion ;  but  with  the  advent  of  the  electric  light  we 
may  hope  for  a  return  of  this  charming  decoration. 

An  approach  has  been  made  in  the  papered  ceil- 
ings which  are  now  in  use ;  but  they  are  unsatisfactory, 
and  given  to  splitting  into  very  unsightly  cracks.  The 
Tyncastle  designs  are  mere  imitations,  but  both  these 
are  an  improvement  upon  the  white-washed  ceilings 
with  stucco  patterns.  The  cold  unfinished  look  of 
the  plaster  ceiling  disfigures  every  room,  however  it 
may  otherwise  be  in  good  taste,  for  the  reason  that  to 
please  the  eye  there  must  always  be  harmony  in  detail : 
hence  the  crudeness  of  the  white  ceiling  offends  us, 
although  we  may  not  know  that  its  want  of  colour  is 
totally  out  of  keeping  with  the  hangings,  the  pictures, 
and  the  decorations  on  the  walls. 


Appendix. 


431 


Mr.  Evans's  Chimney-piece^  Stamford. 

It  is  pleasant  to  find  that  at  Stamford  Angelica  has 
many  admirers.  Possibly  the  proximity  of  Burghley, 
where  so  much  of  her  work  is  to  be  seen,  has  to  do  with 
this,  for  it  is  clearly  impossible  to  admire  without  having 
some  acquaintance  with  the  object  we  admire. 

In  Stamford  itself  there  is  also  a  fine  piece  of  her 
work,  a  chimney-piece,  which  was  ordered  by  a  Mr. 
Robinson  over  a  hundred  years  ago,  and  is  now  the 
property  of  Mr.  Evans,  who,  with  commendable  good 
taste,  has  built  a  room  to  suit  this  work  of  art.  The 
chimney-piece  is  very  high,  carved  oak,  painted  white 
(which  would  seem  a  pity).  Its  front  is  ornamented 
with  three  medallions,  that  in  the  middle  being  large, 
those  at  the  sides  ovals.  The  medallions  by  Angelica 
are  painted  on  copper.  The  centre  represents  Una  and 
the  Lion,  Una  being  a  portrait  of  Angelica.  On  each  side 
of  this  centre  there  are  narrower  plaques  with  a  pretty 
ornamentation  of  convolvulus.  In  the  right-hand  corner 
the  oval  shows  a  girl  holding  a  lamb  on  her  lap  ;  in  the 
left  a  girl  making  a  garland.  The  sides  of  the  chimney- 
piece  have  trails  of  the  same  flower  as  the  panels. 

I  am  indebted  to  Miss  Evans  for  a  charming  sketch 
of  the  old  chimney-piece,  which  I  wish  it  were  in  my 
power  to  reproduce  here. 


1  Erminia  again. 


SUPPLEMENT  TO  APPENDIX. 


CATALOGUE  OF  ADDITIONAL  PICTURES, 
PAINTED  BY  ANGELICA  KAUFFMANN,  R.A. 


ORIGINAL  OR  (when 
known)  present  owner. 

SUBJECT. 

ENGRAVER. 

Mr.  Barford,  Woking- 
ham. 

Mr.  Burkitt,  2,  York 
Terrace,  Regent's 
Park. 

Mrs.     Daniell,  20, 
Cathcart  Road, 
Kensington. 

Dowdeswell  Gallery, 
160,    New  Bond 
Street. 

Lady  Fitzgerald, 
M  err  ion  Square, 
Dublin. 

^Alexander  presenting  his  mis- 
tress Campaspe  to  Apelles. 
Circular. 

2  Portrait  of  Angelica  as  Sim- 
plicity with  Doves  j  a  charm- 
ing picture,  well-coloured  and 
graceful. 

^  Portraits  of  Justice  and  Mrs. 
Helms.  J  length.  The 
background  rather  monoto- 
nous. 

Portrait  of  herself.  With  a 
pencil  in  her  hand  ;  beautiful 
face,  colouring  good,  alto- 
gether an  admirable  specimen, 
f  length. 

Portrait  of  Angelica.  From  the 
collection  of  Mr.  Moloney. 

1  This  picture  was  sold  at  the  Rushout  sale  to  a  commission  agent,  Engel, 
for  £$2.    It  was  resold  at  Messrs.  Christie's,  a  few  years  ago,  to  Mr.  Barford. 

2  This  picture  belonged  to  Mr.  Burkitt's  brother-in-law,  Mr.  Coward,  a 
well-known  collector  of  pictures  in  Bath. 

3  These  portraits  were  sketched  during  Angelica's  stay  in  Dublin,  1 77 1. 


Supplement  to  Appendix.  433 


ORIGINAL  OR  (when 
known)  present  owner. 


Mr.  Edward  Goldie,^ 
12,  Argyll  Road, 
Kensington. 


Harcourt  Family. 

Mrs.  Swinnerton- 
Hughes,  34,  Ab- 
ingdon  Villas,  Ken- 
sington. 


Collection  of  Mr. 
Hopkinson,Eccles- 
ton  Square.  Sold 
by  Messrs.  Christie. 


SUBJECT. 


Portrait  of  Luigi  Bonomi,  infant 
son  ofjoseph  Bonomi, A. R.A., 
and  Rosa  Bonomi  ;/^VFlorini. 
A  very  natural,  easy  portrait, 
much  in  the  manner  of  Sir 
Joshua. 

Sketch  in  oils  of  the  well- 
known  subject  so  often 
treated  by  Angelica,  Achil- 
les at  the  Court  of  King 
Lycomedes,  disguised  as  a 
Virgin. 

Sketch  in  oils  of  **The  Aca- 
demy Model,"  a  drawing  of 
which  is  in  the  Payne 
Knight  collection,  British 
Museum. 

Sketch  in  oils  of  a  large  picture, 
subject  unknown. 

Countess  of  Harcourt. 

Sketch  in  oils  of  the  large  pic- 
ture of  Troilus  and  Cressida 
for  the  Shakespeare  Gallery. 
The  colouring  is  subdued  in 
tone,  and  the  grouping  is 
good.    Small  cabinet  size. 

1.  Nymphs  with  Cupids.  A 
pair.2 

2.  Nymphs  with  Cupids.  Cir- 
cular. 

3.  Juno  introducing  Venus  to 
Mars. 


ENGRAVER. 


Bartolozzi. 


^  Mr.  Edward  Goldie  has  two  interesting  water-colour  drawings  by  his 
great  grandfather,.  Joseph  Bonomi,  A.R.A.  They  are  the  designs  for  the 
Townley  Gallery,  and  for  the  library  at  Lansdowiie  House,  being  the  draw- 
ings produced^on  the  occasion  of  the  difference  between  Sir  Joshua  and 
some  members  of  the  Academy.  Mr.  Goldie  also  inherited  some  handsome 
diamond  ornaments  left  by  Angelica  to  Rosa  Bonomi.  These  formed  part  of 
the  present  sent  to  her  either  by  the  Queen  of  Naples  or  the  Emperor, 
Joseph  II.    They  have  been  reset,  and  are  very  fine  diamonds. 

2  I.  Bought  by  Jennings. 

2.  ,,  Grindley. 

3.  ,,        Wilson  for  gj-. 

4.  Dowdesdell  for  £\2  \2s. 

F  f 


434  Supplement  to  Appendix. 


ORIGINAL  OR  (when 
known)  present  owner. 


Collection  of  Mr. 
Hopkinson,Eccles- 
ton  Square.  Sold 
by  Messrs. Christie. 


Count  Koramosky, 
Austria. 


Rev.  H.  J.  Marshall, 
Bedford,  North 
Devon. 

Mr.Alfred  Martineau, 
Fairlight,  Hast- 
ings 


Mrs.  Maxwell. 


Mr.  Messell,  Nanyms, 
Crawley,  Sussex. 


SUBJECT. 


4.  Mars  and  Venus. 

5.  Venus  with  the  armour  of 
Mars. 

6.  Cupids.    Four  ovals. 

7.  Cupids.    A  pair.  Circular. 

8.  Six  Cupids.  Circular. 

9..  Nymphs  and  Cupid.  A 
pair. 

10.  Oval  panels,  classical  (in 
Grisaille). 

11.  Cupids  with  lions  (in  Gri- 
saille). 

Henry  the  Fourth,  King  of 
France,  between  Glory  and 
Love.  (Subject  taken  from 
the  Henriade.")  This  pic- 
ture is  specially  mentioned 
in  Zucchi's  MS. 

Portrait  of  a  child  with  a  kitten.^ 


The  Angel  appearing  to  Hagar 
and  Ishmael  in  the  desert. 
39  X  29. 

Portrait  of  Mr.  Daniel  Braith- 
waite. 

Portrait  of  his  daughter,  Mrs. 
Batty. 

Portrait  of  Angelica.    \  length. 

Her  palette  is  in  one  hand. 
Portrait  of  a  lady  and  three 

children. 

gentleman  and 


Portrait  of 
children. 

Portrait  of 
Harrod). 
collection. 


Mrs.  Bates  (Miss 
From  the  Burghley 


ENGRAVER. 


1788. 


Bartolozzi, 


Ridley    "  European 
Magazine  1809. 


Hopkinson  Collection  cont  '.nued — 

5.  Bought  by  Wilson  for  £\  ids, 

6.  ,,        Grindley  (or  £2<^  14^.  dd, 

7.  ,,        Richardson  for  £Z  is. 

1  Sold  at  Messrs.  Christie's  about  1882  for;^6o. 

2  Mr.  Martineau  is  the  great  grandson  of  Mr.  Daniel  Braithwaite,  Angelica's 
friend,  and  one  of  the  trustees  of  her  marriage  settlements. 


Supplement  to  Appendix.  435 


ORIGINAL  OR  (when 
known)  present  owner. 


Mr.  George  Newnes, 
M.P.,  Wildcroft, 
Putney  Heath. 

Lord  Northwick  (the 
2nd),  Thirlestane 
House,  Chelten- 
ham.^ 


Lady  Northwick, 
Northwick  Park. 


Mr.     Roger  Pock- 
lingtou  -  Coltman, 


SUBJECT. 


Lady  in  a  Turkish  dress.  Very 
well  coloured,  graceful  atti- 
tude. 

Cupid  drawn  by  the  Graces. 
Cupid  disarmed  by  the  Graces. 

A  pair.a  * 
Cephalus    and    Procris,^  with 

Cupid. 

Four  pictures  with  mythological 

subjects. 
Graces  decorating  the  tomb  ol 

Handel. 
The  departure  of  Hagar. 
Portrait  of  herself. 
Portrait  of  Angelica  KaufTmann 

From   Prince  Poniatowski's 

collection. 
Eurydice.* 
Cordelia.^ 
Allegorical  subject. 
Female  scattering  Flowers  over 

the  Tomb  of  wShakespeare.^ 
Nymph  and  Cupid.  ' 
Allegorical  subject. 
Dido. 

Portrait  of  Angelica  Kauffmann. 
Artist  unknown,  perhaps  by 
Dance. 

Portrait  of  Mrs.  Pocklington. 
wife  of  Roger  Pocklington 


ENGRAVER. 


Bartolozzi. 


^  The  Thirlestane  House  sale  was  an  event  in  the  art  world  ;  it  lasted 
eighteen  days,  and  realized  £^^^QOO, 

2  The  Cupid  pair  were  bought  for  lys.  6d.  for  the  Due  d'Aumale,  and 
are  at  Chantilly. 

3  Cephalus  and  Procris  was  bought  for  £6^  by  Grindley,  and  the  four 
mythological  pictures  brought  £46.  Graces  decorating  the  tomb  of  Handel, 
;^30  gs.  The  departure  of  Hagar,  £19.  Portrait  of  herself,  £iS.  Some  of 
these  were  bought  by  the  late  Lord  Northwick,  and  are  now  at  Northwick 
Park.  The  portrait  by  Angelica  of  the  second  Lord  Northwick  is  at  Burford, 
Worcestershire  (see  page  365) . 

*  and  ^  Bought  in  1824  at  Messrs.  Christie's,  from  Mr.  G.  W.  Taylor,  M.P. 

*  This  picture  was  painted  for  Lady  Rushout,  and  the  engraving  is  dedi- 
cated to  Mrs.  Montagu.  The  companion  picture,  the  Birth  of  Shakespeare, 
was  also  painted  for  Lady  Rushout,  and  was  bequeathed  lately  to  Stratford-on- 
Avon  by  Mr.  Graves. 

F  f  2 


436  Supplement  to  Appendix. 


ORIGINAL  OR  (when 
known)  present  owner. 


Hagnaby  Priory, 
Spilsby,  Lincoln- 
shire. 


Mr.  Joseph  Pyke, 
Devonshire  Place 
House,  Maryle- 
bone  Road. 


Mr.  G.  J.  Rust,  The 
Views,  Hunting- 
don. 


Duke    of  Rutland, 
Belvoir  Castle. 


SUBJECT. 


Esq.,  of  Winthorpe,  Notts. 
The  lady  is  painted  in  white 
drapery  with  a  red  sash  round 
her  waist  and  a  yellow  scarf 
on  her  shoulders.  She  is 
leaning  against  a  pedestal  sur- 
mounted by  an  urn.  There 
is  a  background  of  trees. 

Ahijah  foretelling  to  Jeroboam's 
wife  the  death  of  her  son. 
I  Kings  xiv. 

Nathan  and  David. 

Scene  from  Montesquieu's  Tem- 
ple de  Gnidus.  Circular. 

Portrait  of  Miss  Margaret 
Brown  ^  (Mrs  Rust).  36x28. 
Half  length,  .nearly  full  face  ; 
abundant  brown  hair ;  left 
hand  raised  to  head ;  blue 
dress ;  face  beautifully  fin- 
ished ;  drapery  rather  hard. 

Maria,  from  Sterne's  Senti- 
mental Journey."  Small 
oval. 

Eloisa  reading  Abelard's  letter. 
Small  oval. 

*  Soon  as    thy   letters   trembling  I 
unclose. 

That  well-known  name  awakens  all 
my  woes  *' 

The  figure  is  draped  in  white. 
She  has  turned  away  from  the 
letter  and  is  gazing  sadly  at  a 
ring  upon  her  finger. 

Girl  with  garlands. 

She  is  seated  in  a  garden  upon 
a  red  chair ;  behind  her  at 
the  extreme  left  is  a  curious 
summer  house  with  two  long 
upright  poles.  Flowers  lie 
scattered  on  the  ground. 
The  girl  is  supposed  to  be  a 
likeness  of  Angelica. 


ENGRAVER. 


Bartolozzi. 


Bartolozzi. 


^  Daughtei  of  the  celebrated  landscape  gardener,  Lancelot  Brown,  known 
as  "  Capability"  Brown. 


Supplement  to  Appendix.  437 


ORIGINAL  OR  (when 

known)  PRESENT  OWNER. 


Mr.  Albert  G.Sande- 
man,  32,  Grosvenor 
Street. 

Mr.  Albert  G.Sande- 
man,  32,  Grovenor 
Street. 

Mr.  John  Samson, 
West  Ljrnne,  Stoke 
Newington. 

Duke  of  Sutherland, 
Trentham,  Staf- 
fordshire. 


Earl    of  Strafford, 
Wrotham  Park. 


Mr, 


G.  L.  Wat- 
son,  Rockingham 
Castle,  Rutland. 


SUBJECT. 


Venus  showing  Eneas  and 
Achates  the  way  to  Carthage. 

50  X  39. 

Armida  putting  on  her  armour. 
Tasso.    50  X  39. 

St.  Cecilia  playing  the  organ. 
Said  to  be  a  portrait  of  Mrs. 
Sheridan. 

Lady  Louisa  Macdonald, 
daughter  to  the  first  Marquess 
of  Stafford. 

Caroline,  Countess  of  Carlisle, 
wife  to  Frederick,  5th  Earl 
of  Carlisle. 

The  Marquis  and  Marchioness 
of  Stafford  and  their  daughters 
— Lady  Louisa  Macdonald, 
Countess  of  Carlisle,  Lady 
Anne  Vernon -Harcourt,  Lady 
Georgiana  Eliot,  and  the 
Duchess  of  Beaufort. 

Coriolanus. 

Coriolanus  taking  leave  of  his 
family  before  going  into  exile. 

Grace,  daughter  ol  Rt.  Hon. 
Henry  Pelham,  and  wife  of 
the  1st  Baron  Sondes.  High 
powdered  head,  pensive, 
dignified  attitude. 


ENGRAVER. 


Bartolozzi. 


LIST  OFJADDITIONAL  ENGRAVINGS/  ETC. 


ORIGINAL  OR  (when 

known)  PRESENT  OWNER. 


SUBJECT. 


Royal  Institute  of 
British  Architects, 
Conduit  Street, 
Hanover  Square. 


Hon.  Gerald  and 
Lady  Maria  Pon- 
sonby,^  57,  Green 
Street,  Grosvenor 
Square. 


^Lady  Elizabeth  Grey  imploring 
Edward  IV.  to  restore  her 
husband's  lands  to  her  son. 
See  page  441. 

Achilles  at  the  Court  of  Lyco- 
medes. 

Euryclea  awakening  Penelope 
with  the  news  of  the  return 
of  Ulysses. 

Queen  Eleanora  sucking  the 
venom  from  the  arm  of  Ed- 
ward I.    See  page  441. 

Fan  painted  by  Angelica  for 
Miss  Ann  Rushout,  and  be- 
queathed by  her  to  her  grand- 
niece.  Lady  Maria  Ponsonby. 

It  is  one  of  those  quaint  little 
fans  used  by  ladies  in  the  last 
century,  of  most  delicate 
tracery  almost  like  lace.  The 
painting  is  in  the  itiiddle. 
Oval.  The  subject  Venus 
counselling  Helen.''  It  is 
very  fine  *work  and  the 
colouring  as  fresh  as  if 
painted  yesterday. 

A  set  of  engravings  after  Ange- 
lica, by  Bartolozzi.  They 
were  bought  at  the  Bowles 
sale,  and  are  many  of  them 
proofs.  Some  are  in  brown, 
such  as  **Lady  Northwick 
and  child,"  a  beautiful  speci- 
men, Shakespeare's  Tomb,*' 
and    La  bergere  des  Alpes." 


ENGRAVER. 


Ryland. 


Scorodomoff. 


^  These  prints  are  mostly  in  brown. 

*  There  is  also  an  oil  painting  said  to  be  by  Angelica  j  but  although  it  has 
a  plate  with  her  name  on  the  frame  it  is  undoubtedly  by  Zucchi. 

3  Mr.  Ponsonby  is  a  collector  of  all  manner  of  art  treasures,  his  house  being 
full  of  them.  The  miniatures  are  (as  in  all  collections)  to  most  people  the  most 
interesting,  and  these  especially,  as  each  one  has  its  own  history  and  belongs 
to  the  family,  which  is  quite  another  thing  from  buying  them  haphazard. 


COMPLETE  LIST  OF  PICTURES  EXHIBITED 
BY  ANGELICA  KAUFFMANN,  R.A.,  AT  THE 
ROYAL  ACADEMY,  1769— 1797. 


SUBJECT. 


1769. 

Interview  of  Hector  and  Andromache.  Painted  for  Mr.  Parker, 
of  Saltram. 

Achilles  discovered  by  Ulysses  amongst  the  attendants  of 

Deidamia.    Painted  for  Mr.  Bowles. 
Venus  showing  Eneas  and  Achates  the  way  to  Carthage. 
Penelope  taking  down  the  bow  of  Ulysses  for  the  trial  of  her 

wooers.    Painted  for  Mr.  Parker,  of  Saltram. 

1770. 

Vortigern  enamoured  with  Rowena.    Painted  for  Mr.  Parker, 
of  Saltram. 

Hector  upbraiding  Paris.    Painted  for  Mr.  Bowles. 
Cleopatra  adorning  the  tomb  of  Mark  Antony.    Painted  for 

the  Earl  of  Exeter. 
Samma  the  Demoniac  weeping  over  the  ashes  of  his  son, 

Benoni,  whom  he  had  killed  in  his  frenzy.     (From  Klop- 

stock's  Messiah.)    Painted  for  Klopstock. 


1771. 

Interview  of  King  Edgar  with  Elfrida  after  her  marriage  with 
Athelwold.    Painted  for  Mr.  Parker,  of  Saltram. 

Acontio  and  Adippe.    Ovidy  Epist.  xix. 

The  return  of  Telemachus.     Odyssey  xvii. 

Erminia  finds  Tancred  wounded,  and  assists  in  his  relief. 
Tasso. 

Portrait  of  a  lady  and  child. 
Portrait  of  an  artist. 


440  Supplement  to  Appendix. 


NO.  IN 
ACADEMY 
CATALOGUE. 


SUBJECT. 


127 
128 
129 

130 


1772. 

Rinaldo  and  Armida.    Tasso.    Painted  for  Mr.  Bowles. 
Andromache  and  Hecuba  weeping  over  the  ashes  of  Hector. 
Lady  in  Italian  dress.    Whole  length.    Painted  in  Ireland. 

Her  own  portrait. 
La  Penserosa. 

Portrait  of  a  Bishop  (Dr.  Robinson,  Archbishop  of  Armagh, 
afterwards  first  Baron  Rokeby).    Painted  in  Ireland. 


1773- 

163  Telemachus  at  the  Court  of  Sparta,  discovered  by  his  grief 
on  the  mention  of  his  father's  sufferings.  Odyssey, 

164  Trenmor  and  Imbaoa,  the  moment  of  her  discovery  to  Tren- 
mor.  Ossian, 

165  Portrait  of  a  lady  with  her  daughter. 

166  Grecian  lady  at  work.    Painted  for  Sir  Richard  Hoare  of 
Stourhead. 

167  Holy  Family.    Painted  for  Mr.  Bowles. 

1774. 

142  Calypso  calling  heaven  and  earth  to  witness  her  affection  for 
Ulysses. 

143  Penelope  invoking  Minerva*s  aid  for  the  safe  return  of  Tele- 
machus.   Painted  for  Sir  Richard  Hoare,  of  Stourhead. 

144  Cupid  finding  Aglaia  asleep  binds  her  to  a  laurel.  Metastasio, 
Painted  for  Mr.  Bowles. 

145  Ariadne  abandoned  by  Theseus. 

146  Portrait  of  a  lady. 

147  Paris  and  Helen  directing  Cupid  to  inflame  each  other's 
heart  with  love.^ 

148  Portrait  of  a  lady. 


1775- 

168  Portrait  of  a  gentleman. 

169  Sappho. 

170  The  despair  of  Achilles  on  being  informed  of  the  death  of 
Patroclus. 

171  Madonna  and  child. 

172  Rinaldo  and  Armida. 

173  Andromache  fainting  at  the  unexpected  sight  of  Eneas. 


^  Original  drawing  in  the  Print  room,  British  Museum, 


Supplement  to  Appendix.  44 1 


SUBJECT. 


Return  of  Telemachus.    Painted  for  the  Earl  of  Derby. 
Small  oval  of  a  lady  in  a  Turkish  dress.    Whole  length. 
Portrait  of  an  artist,  kitcat.    [Her  father.] 
St.  John. 
A  Cupid. 

1776. 

Eleanora  sucking  the  venom  out  of  the  wound  which  Edward 
I.  received  with  a  poisoned  dagger.  Rapin. 

Lady  Elizabeth  Grey  imploring  of  Edward  IV.  the  restitu- 
tion of  her  deceased  husband's  lands.  Rapin. 

Patience.  **  Her  meek  hands  folded  on  her  modest  breast.** 
Mason.  —  *  *  Caractacus. 

Armida  in  vain  endeavours  to  prevent  Rinaldo's  departure. 
Tasso. 

Portrait  of  a  gentleman. 

1777. 

Sylvia  lamenting  over  the  favourite  stag  wounded  by  Ascanius. 

^neid,  vii.    Painted  for  Chief  Justice  Downes. 
Dido. 

Maria  near  Moulines.    Sentimental  Journey.    Painted  for  the 

Burghley  collection. 
Love  punished. 
Group  of  Children. 

1778. 

Leonardo  da  Vinci  expiring  in  the  arms  of  Francis  L 
A  nymph  presiding  in  the  temple  of  Immortality,  receives  from 
the  two  swans  to  be  placed  in  the  temple,  the  few  names 
they  had  saved  of  those  whom  an  aged  man  (the  emblem  of 
Time)  had  thrown  into  the  River  Lethe.  AriostOy  canto 
xxxiv. 

Calypso  mournful  after  the  departure  of  Ulysses. 
Flora. 

Portrait  of  lady  playing  the  harp. 


1779- 

The  death  of  Procris.    Ovid^  Metam. 
A  Magdalen. 

Paris  and  GEnone.    Ovidj  Epist. 

Diana  with  one  of  her  Nymphs. 

Conjugal  peace.    [Two  ducks  in  a  basket.] 

A  Nobleman's  Children. 

Group  of  children  representing  Autumn. 


442- 

Supplement  to  Appendix. 

ACADEMY 
CATALOGUE. 

SUBJECT. 

1780. 

22 

39 
196 
300 

367 

Religion.    See    Temple  of  Virtue,''  by  Dr.  Fordyce. 
Modesty  embracing  virtuous  Love. 
Lady  and  her  daughter. 
A  Sybil. 

Design  for  a  Fan. 
A  Vestal. 

1781. 

169 
67 
153 

Venus  attended  by  the  Graces.    Painted  for  Mr,  Bowles. 

Portrait  of  a  lady  as  a  Muse. 

Judgment  of  Paris.    Painted  for  Mr.  Bowles. 

102 

1782. 

Modesty. 

1786. 

.86 
196 
214 

Cornelia,  Mother  of  the  Gracchi,  pointing  to  her  children  as 
her  treasures. 

Virgil  writing  his  own  Epitaph  at  Brundusium.    These  three 

painted  for  Mr.  Bowles. 
Pliny  the  younger  with  his  mother  at  Misenum. 

1  y  00. 

217 

Bacchus  teaching  the  Nymphs  to  make  verses.^  '  Horace. 

214 
246 

1791. 

Death  of  Alcestis. 

Virgil  reading  the  sixth  ^neid  before  Augustus  and  his 
sister  Octavia. 

1796. 

29 

Euphrosyne,   wounded  by  Cupid,  complaining  to  Venus. 
Painted  for  Lord  Berwick, 

1797. 

53 

Portrait  of  a  lady  of  quality.    [Lady  Harcourt.] 

^  This  was  the  only  picture  Angelica  ever  sent  to  the  Royal  Academy  with 
the  star  affixed.  All  others  were  commissions,  or  purchased  before  they 
appeared.  Very  few  artists  can  now  say  as  much.  This  can  be  easily 
proved  by  looking  over  the  file  of  the  Academy  Exhibition  catalogues,  from 
which  this  list  is  taken. 


LIST  OF  PICTURES  BY  ANGELICA  KAUFF- 
MANN  IN  EXHIBITIONS  FROM  1824  TO 
1882. 


Leeds,  1824. 

OWNERS. 

View  in  Rome  Sir  Thomas  Baring. 

Eurydice  Mr.  G.  W.  Taylor. 

Cordelia  Mr.  G.  W.  Taylor. 


British  Institution. 

Portrait  of  Angelica  Kauffmann     .       ,    Mr.  Cheeseman. 
An  English  lady  of  quality     .       .       .    Mr.  C.  Aders. 
Cleone.    A  drawing      .       .       .       .    Mr.  F.  Wadmore. 


Leeds,  1853. 

Portrait  of  Angelica  Kauffmann     .       .Mr.  T.  Stokes. 

La  Penserosa         .....    Mr.  T.  De  la  Fosse. 


Art  Treasures,  Manchester,  1857. 

Jane  Maxwell,  Duchess  of  Gordon         .    Duke  of  Richmond  and  Gor- 
don. 

International,  1862. 
Margaret,  Countess  of  Lucan  .       .       »   Earl  Spencer. 

National  Portrait  Exhibition,   1867,  South  Kensington 

Museum. 

Viscount  Ahhorp  and  his  sisters.  Ladies 
Georgiana  and  Henrietta  Spencer, 
afterwards  Duchess  of  Devonshire,  and 
Countess  of  Bessborough     .       .       .    Earl  Spencer. 


444  Supplement  to  Appendix. 


Portrait  of  Angelica  Kauffmann 

Anne  Montgomery,  Marchioness  Town 

shend,  and  her  son 
Portrait  of  Angehca  Kauffmann 
Mary  Knowler,  Countess  Digby 
Alleyne    Fitzherbert,    first    Lord  St. 

Helen's,  as  a  boy 
Honourable  Charlotte  Clive  . 
Earl  and  Countess  of  Derby,  with  their 

infant  son  between  them 


OWNERS. 

Earl  of  Home.* 

Marquis  Townshend. 
Rev.  J.  E.  Waldy. 
Mr.  G.  D.  W.  Digby. 

Sir  William  Fitzherbert. 
Earl  of  Powis. 

Earl  of  Derby. 


Leeds,  1868. 

Venus  showing  Eneas  and  Achates  the  "J 

way  to  Carthage  2  .  .  .  .  V  Col.  the  Hon.  C.  S.  Vereker. 
Armida  arming,  Cupid  attending  her  s    . ) 

Royal  Academy  (Winter  Exhibition),  1873. 

Anne,  Countess  of  Albemarle        .       .    Earl  of  Albemarle. 
'  1876. 

Sir  Joshua  Reynolds      .       .       .       .    Earl  of  Morley. 

1878. 

Lady  Caroline  Damer     ....    Earl  of  Portarlin^ton. 


1883. 

set  I 


"  Design  .... 

One  of  the  four  decorations  of  Somerset      The  Royal  Academy. 
House,  now  in  the  Diploma  Gallery  ^ 


1885. 

Elizabeth,  Marchioness  of  Lothian,  and 

child  Marquis  of  Lothian. 

•  1889. 

Prince  William  Frederick  and  Princess 
Sophia  Matilda,  children  of  T.R.H. 
the  Duke  and  Duchess  of  Gloucester   .    Earl  Waldegrave. 


^  The  Earl  of  Home  has  also  two  classical  pictures  by  Angelica. 
2  &  3  Both  pictures  sold  to  Mr.  Albert  Sandeman,  Grosvenor  Street. 
*  Angelica  received  for   these   four  paintings  ;^ioo;   Sir  Joshua,  for 
**  Theory,"  £^2  ;  Cipriani,  £0^2,— Journal  of  R,  /.  of  British  Architects  ^  1892. 


LETTER  TO  MR.  BOYDELL,  IN  ANSWER  TO 
HIS  GIVING  HER  A  COMMISSION  FOR 
THE  SHAKESPEARE  GALLERY  AND  SIX 
HISTORICAL  PICTURES^ 


Rome,  February  4th,  1786. 

Sir, — It  is  some  time  since  I  rec*^-  the  favour  of  your  letter 
date  November  the  15th,  it  rader  came  late  to  hand,  for  which 
reason  the  answer  was  delayed. 

I  greatly  admire  the  Idea  you  have  to  form  so  noble  a  gallery, 
and  I  shall  certainly  esteme  it  an  honour  to  have  my  portrait 
placed  amongst  the  respectable  artists  you  name. 

I  likewise  understand  that  you  wish  to  have  half  a  dozen 
Historical  Pictures  done  by  me,  my  engagements  are  very  num- 
berous — I  am  just  now  finishings  two  large  Historical  Pictures  for 
his  Majes*^  the  Emperour,  and  tho'  I  have  a  great  number  of 
other  comyssions,  I  shall  as  soon  as  I  can  be  mindful  of  yours, 
and  chuse  such  subjects  which  may  be  pleasing  and  interesting. 
I  generally  prefer  to  paint  what  I  have  not  seen  done  by  others. 

I  well  remember  Mr.  Ben,  Evans.  I  am  sorry  he  has  not 
behaved  to  you  as  he  ought,  but  it  too  often  happens  that  bene- 
volence is  returned  with  ingratitude. 

Mr.  Zucchi^  sensible  of  your  kind  remembrance  of  him,  pre- 
sents his  comp*^-  to  you,  and  we  both  present  our  best  comp*- 

1  Contributed  by  Miss  Wright,  Dover. 

2  The  date  is  the  same  as  her  letter  to  Goethe  telling  him  of  the  commission. 
It  is  remarkable  that  in  any  autograph  letter  she  never  crosses  a  /  or  dots 

an  /.    The  original  spelling  has  been  preserved. 


446  Supplement  to  Appendix. 


to  your  Nice.''  I  am  obliged  to  her  for  the  partiality  she  is 
pleased  to  shew  to  my  works  ;  but  those  who  say  that  she  is  like 
me  in  person  don't  pay  her  a  compliment.  I  hope  some  day 
or  an  other  to  have  the  satisfaction  of  being  acquainted  with 
her.  I  intend  to  visite  England  again,  but  how  soon  that  will  be 
I  do  not  know,  having  many  things  to  finishe.  However^  I  hope 
to  be  able  to  effectuate  my  intention.  Meanwhile,  I  have  the 
honor  to  be  with  the  greatest  esteme. 

Your  most  obliged  humble  Servant, 
Angelica  Kauffmann. 


^  The  Miss  Boydell  mentioned  here  was  both  a  belle  and  a  blue  stocking  ; 
she  married  Mr.  Nicol,  of  Pall  Mall,  the  King's  bookseller.  A  very  interest- 
ing account  of  her  appeared  in  Notes  and  Queries^  November  26th,  1892, 
contributed  by  Mr.  Hendriks. 


NOTES  OF  FUNDED  PROPERTY,  INVEST- 
MENTS,  AND  OTHER  EFFECTS  OF  AN- 
GELICA KAUFFMANN  ZUCCHI. 


A  sum  of  Five  Thousand  pounds  in  the  Funds  or  Stocks  in 
London,  bearing  interest  at  3  per  cent.,  making  yearly 

;^i5o  £5*000    O  0 

Another  sum  of  ;^i35o  invested  in  the  English  Funds,  bearing 

10  interest  yearly    ;^i,300    O  0 

The  two  making  £260  yearly. 

Lochi  di  Monte,  Communita  di  Roma,  No.  80,  making 

yearly  at  3  per  cent.  ...   Scudi  Romani  240 

Further  Lochi  di  Monte,  bought  in  1791.    No.  100.  ...   

Monies  invested  at  interest  in  Schwartzenberg...  Florini  7,000 
A  sum  invested  in  good  pictures  Scudi  8,000 

Also  jewels,  silver,  books,  prints,  statues,  and  plaster 
busts,  household  furniture  of  every  kind,  carriages, 
horses,  curiosities,  clothing,  and  house  linen.  Also 
all  necessaries  for  the  study  and  use  of  the  art  of 
Painting        ...        ...        ...        ...        ...        ...  — 

Angelica  Kauffmann  has  this  day  (26th  May,  1798),  sunk  a  sum  of  Ten 
thousand  scudi  Romani  with  the  Royal  Church  of  St.  Ludovico  del  Negion 
for  a  Life  Annuity,  at  7  per  cent. 

N.  B. — This  makes  the  amount  700  scudi  yearly. 

Extracts  from     ZticchCs  Memoir  of  Angelica,^''  lent  by  Mr,  Hen- 
drikSf  Vicarage  Gate^  Kensiti^ton , 


LIST  OF  AUTHORITIES  CONSULTED. 


Vita  di  Angelica  Kauffman,  Cav.  Giovanni  Gherardo  Rossi. 

Translation  of  ditto  into  German.    By  Alois  Weinhart, 

Beriihmte  deutscbe  Frauen.    Baron  A.  von  Sternberg. 

Das  Leben  der  Maler.    Andreas  Oppermann  u.  A.  von  Sternberg. 

Aus  dem  Bregenzer  Wald.    Andreas  Oppermann. 

Meyer,  Allegemeine  Kiinstler  Lexikon. 

Nagler,  Allegemeine  Kiinstler  Lexikon. 

R.  D.  Dohmes.    Kunst  u.  Kiinstler.    Article  by  J.  Weisseley. 
Allegemeine  deutsche  Biographie. 
Italienische  Reise.    Goethe.    Last  edition. 
Nacligeschichte  der  Italienische  Reise.  Otto  Harnach. 
Schrilten  von  Helfrich.    Peter  Sturz. 
Briefwechsel  von  Herder. 
Literatur  u.  Kunst.  Herder. 

Der  Gesellchafter  oder  Blatter  fvir  Geist  und  Herz,  1838. 

Zeitung  fiir  die  elegante  Welt.    K.  L.  Meilaus  MuUer,  1827.  ik 

Biographie  des  Contemporains.  Arnault. 

Nouvelle  Biographie  Generale.  Hoefer. 

Biographie  Universelle.  Michaud. 

Manuel  des  Curieux  et  des  Amateurs  des  Beaux  Arts.    Hiiber  u^  Rast. 

Manuel  de  1' Amateur  des  Estampes.    Charles  Le  Blanc. 

Gravure  du  XVHI.  Siecle.    Henri  Beraldi. 

Hand-Buch  der  Kupferstich  Sammler.    Andresen  u.  Weigel. 

Bartolozzi  and  his  Works.    Andrew  W.  Tuer, 

Records  of  my  Life,    John  Taylor. 

Life  of  Nollekens.    J.  T.  Smith. 

Life  of  Sir  Joshua  Reynolds.    Leslie  and  Tom  Taylor. 
Celebrated  Women.    Ellen  Clayton. 
Dictionary  of  Painters.    Bryan.    Last  edition. 
Dictionary  of  Painters.  Seguier. 
Century  of  Painters.    R.  and  S.  Redgrave. 
Dictionary  of  National  Biography,  vol.  xxx. 
Architectural  Works.    Brothers  Adam. 

Catalogues  of  the  Royal  Academy.    South  Kensington  Museum. 
Catalogues  of  ditto,  from  Mr.  Anderdon's  collection.    British  Museum, 
Catalogues  of  ditto,  annotated  by  Horace  Walpole.    Lent  by  Mr.  Harvey, 
St.  James'  Street. 

Ditto,  arranged  by  Mr.  Graves,  of  Pall  Mall. 

Catalogues  of  the  Leeds  and  National  Portrait  Exhibitions,  arranged  by 
Mr.  Graves.  Unpublished. 

Articles  v^ritten  at  different  times  in  the  Athenceuin,  Art  Journal ^  European 
Magazine^  Household  Words ^  and  Leisure  Hour, 

The  Saltram,  Belvoir,  Knowsley,  and  Thirlestane  Catalogues,  lent  by  the 
owners  ;  lists  sent  by  owners  ;  the  Burghley  Catalogues,  kindly  lent  by  Mr. 
Jos.  Phillips,  of  Stamford. 


INDEX. 


A. 

Abbate  Spina,  222,  225,  253. 
Abel  Drugger,  112,  133. 
Academicians,  Picture  of,  118  — 119, 
146. 

Academy,  Royal,  114,  116  — 123, 
146,  150,  154,  155,  157,  162,  166, 
169,  180,   204,  281,  295,  351, 

354—7,  361,  374,  404,  439,  440, 

441,442. 
Academy  Notes,  173. 
Academy,  St.  Luke,  147 — 152,  164, 

326,  334. 
Ach,  The,  12,  13. 
Achilles,  154,  229,  245,  377. 
Achilles  discovered  by  Ulysses,  121, 

202,  371,  380 — I. 
Adam  Brothers,  170, 175,400 — i — 3, 

404—5—8,  413-^14—17,  430. 
Adams,  New  York,  363. 
Addington,  Mr.,  1 59. 
Adelphi,  179,  288,  400,  401,  404. 
Adonis,  279,  369,  374-8,  383. 
Advertiser^  116,  120,  12 1,  126. 
Affectionate  Sister,  70. 
Afflicted  Mother,  70. 
Aglaia  bound  by  Cupid,  132,  175, 

380,  394,  403,  408,  416. 
Alba,  Duke  of,  213.  • 
Albacini,  Signor  Carlo,  224. 
Albaggini,  326. 
Albani,  Cardinal,  30. 
Albano,  132,  246,  318,  339. 
Albemarle,  363. 
Albemarle,  Countess  of,  150. 
Alberschwende,  12. 
Aldborough,  Viscount,  175,  308. 


Allgemeiue  Biogt-aphie^  72,  76,  102. 
Allan  Cunningham,  122. 
Almighty,  The,  149,  205. 
Almoro  Barbaro,  183,  361, 
Alps,  265,  303,  309,  317. 
Althorp,  151,  381. 
Amalie,  Duchess  of  Weimar,  198, 

234,  238—246,  248-256. 
Amalie,  Princess  of  Parma,  187. 
Amalie  Schoppe,  69,  IC2. 
Amalie  Triesdoff,  231. 
America,  361. 
American  Market,  391. 
American  Silver  Kings,  42. 
Amsterdam,  94. 
Ancaster,  Duchess  of,  62,  1 52. 
Anderdon's  Catalogue,  154. 
Andromache,  123—5,  145,  154,  375, 

385. 

Angel,  Miss,  43,  98,  176,  309. 
Angelica.    See  Kaufifmann. 
Angelice,  218. 

Anhalt-Dessau,    Princess   of,  206, 

279,  363. 
Anhalt-Dessau,  Prince  of,  363. 
Anna  (Santa)  and  Joachim,  203, 377. 
Apollo,  241,  242,  412. 
Apollo's  nose,  147. 
Apelles,  256,  417. 
Appendix,  363. 
Arcadia,  52,  346,  385. 
Archduchess  Christina,  193. 
Architects,  438. 
Arco  di  Regina,  197,  359. 
Argyle,  Duke  of,  406. 
Ariadne,  268,  273,  282,  306,  370, 

381. 

Arlington  House,  415. 

G  g 


450 


Index. 


Art  Club,  Hanover  Square,  414, 
415. 

Art  Joii7'nal^  113,  340. 
Aschaffenberg,  363. 
Athen(Eum,  333,  369,  423. 
Atteiiborough,  401. 
Authorities,  448. 


B. 

Bach,  414. 

Bacchante,  153,  277,  372—4. 
Bacchantes,  132. 

Bacchum  in  remotis  Carmine,  279. 
Bacchus  teaching  the  Nymphs  to 

malce  verses,  207,  279,  369. 
Bagwell,  Mr.,  143,  363. 
Baker,  Dr.,  48,  127. 
Baltimore,  Lord,  61. 
Bandettini,  Therese,  199. 
Banks,  357. 

Sir  John,  139. 
Barazzi,  Monsieur,  191. 
Barbauld,  181. 
Barford,  432. 
Baring,  364. 
Baromieau,  364. 
Barry,  134,  150,  371,  404,  429. 
Bartolozzi,  44,  46,  117,  131,  165, 

173,  278,  305—7,  343,  354,  357, 

360,  370—83. 
Bastard,  376. 
Battazate,  2. 

Bavaria,  Archduke  of,   187,  321, 

380. 
Beatitude,  149. 
Bellamy,  48. 

Bell's    Edition  of  the  Poets,''  165, 
364- 

Belvedere,  201,  421. 
Benjamin,  8. 
Beraldi,  388. 
Bergamo,  206,  321,  364. 
Berger,  131. 

Berlin,  28,  153,  255,  364. 
Bernini,  21,  152,  364. 
Bemsdorff,  51,  109,  123,  146. 
Berry,  Miss,  276,  280. 


Berwick,  Lord,  282,  364. 
Bessborough,  381,  443. 
Bildstein,  13. 
Biraldi,  148. 

Bishop  of  Como,  6,  ii,  311. 
Biographies,  72,  76,  102,  340. 
Blomefield,  Sir  Thomas,  350,  364 
421. 

Bloomsbury,  178,  426. 
Blue  Stocking  Club,  41. 
Boddam,  364. 
Bode,  231. 
Boehm,  417, 

Bologna,  22,  147,  311,  313. 
Bonomi,  Joseph,  177,  189,  318,  328, 

332,  400,  404—7.. 
Bonomi,  Rosa  Florini,  55,  177,  183, 

323-8,  330,  406. 
Book  of  Italian  Travels,  198. 
Borsi,  330. 
Boswell,  103. 

Botanical  Gardens,  237,  251. 
Boucher,  392. 
Bousfield,  Mrs.,  143. 
Bouverie,  152. 

Bowles,  Mr.  George,  128,  176,  182, 
193,  204,  245,  282,  318,  330,  342, 
364,  365,  366,  367,  391,  425. 

Bowring,  Mr.  Victor,  350,  367. 

Boydell,  148,  164,  166,  242 — 5,367, 
368,  377,  388. 

Brandt,  127. 

Briscoe,  368. 

Britannia,  iio. 

British  Court,  81. 

Brown,  Count,  281,  368. 

Brown,  Lancelot,  436. 
Margaret,  436. 

Brussels,  181. 

Bryer,  131,  368,  392. 

Brithingam,  Mr.,  191. 

Buckingham  House,  98,  401. 

Buckle,  94. 

Buonarotti,  Michael  Angelo,  230. 
Burghley  Collection,  350,  357,  431. 
Burial  of  our  Lord,  228. 
Burke,  Thomas,  128,  131,  395. 
Burkitt,  432. 
Burnand,  Count,  28. 


Index. 


451 


Burney,  Dr.,  79- 

Bury,  132,  209,  232,  234. 

Bute,  Lord,  400. 


C. 

Caen  House,  Hampstead,  401. 
Calais,  380—392. 
Calonnc,  343,  368. 
Calypso,  147,  278,  379>  426. 
Calypso  calling  on  Heaven  to  wit- 
ness her  affection  for  Ulysses,  379. 
Cambridge  House,  419. 
Canova,  163,  316— 17,  326-  7,  331. 
Canterbury,  Archbishop  of,  150.  [ 
Canton,  154,  309. 
Captain  Frederick  Johnston,  151. 
Caraffa,  Columbano  Palace,  233. 
Carattoni,  131. 
Caserta,  192. 

Casimir  Kauffmann,  314 — 16. 
Carlsbad,  271. 
Carlyle,  260. 

Caroline  Flachsland,  261,  271. 
Carter,  Mrs.  Elizabeth,  281.  : 
Castel  Gandolfo,  207,  216,  234.  | 
Castle,  137.  j 
Castle,  Dublin,  137.  I 
Catalogue  of  Paintings,  363,  432.  ! 
Cataneo,  148.  , 
Cathedral,  St.  Paul's,  149—50. 
Cavaggi,  287,  291. 
Cavendish  Square,  424. 
Ceci,  Due  of,  202,  368. 
Cedars,  410. 
Cesari,  Cardinal,  313. 
Chambers,  Sir  William,  117. 
Charing  Cross,  53,  58. 
Charity,  297,  354,  357. 
Charles  H.,  345. 
Charles  Cramer,  77. 
Cheapside,  148. 
Cheeseman,  Mr.,  152,  368. 
Cheops,  173. 
Chiaro-oscuro,  229. 
Christian,  King  of  Denmark,  40,  71. 
Christian  Police  Institution,  402, 
403. 


Christie's,  119,  142,357 — 8,  360—1, 
365,  370—1—2—4,  383,  429. 

Church  of  St.  Andrea,  294,  326, 
.331-2. 

Cimaroso,  209. 

Cipriani,  117,  119,  150,  166,  402, 
404—7,  418—19,  420-9. 

Cirillo,  377. 

Clarchen,  213. 

Claridge's,  79. 

Clayton's,  139. 

Clements,  Colonel,  143,  368. 

Clements,  Mrs.,  143,  368. 

Cleopatra  weeping  over  Antony, 
128,  371—4,  381,  411,  416. 

Cleophas  Lucin,  2,  II. 

Clerisseau,  400. 

Cleveland,  416. 

Clio,  153,  354,  374. 

Clive,  Hon.  C,  150,  378. 

Clonmel,  Lord,  138. 

Cockerel],  365,  366. 

Collins'    *'  Eclogues,"    165,  373, 

395- 
Colnaghi,  44. 
Comic  Muse,  279,  372. 
Como,  6  —  8,  311,  313 
Como,  Bishop  of,  6,  11,  311,  368. 
Composition,  167. 
Conjugal  Peace,  163. 
Conjuror,  The,  156 — 61. 
Constance,  18,  232. 
Conway,  50,  126,  150. 
Copenhagen,  109,  284. 
Copley,  166. 
Corbett,  369. 

Cordelia's  Corpse,  378,  381,  407. 

Corigliano,  Duchess  of,  193,  377. 

Coriolanus,  310,  381,437. 

Cornelia,  204 — 5. 

Cornelys,  Mrs.,  410. 

Correggio,  339. 

Corso,  323. 

Cosway,  Mrs.,  171. 

Cosway,  Richard,   117,  119,  176 

409,  420. 
Cotes,  121. 

Council  of  the  Academy,  156,  402. 
Courland,  Princess  of,  369. 
2 


452 


Index. 


Covent  Garden  Theatre,  151. 

Coward,  432. 

Cowper,  405. 

Cranley  Gardens,  416. 

Cressida,  166. 

Crewe,  Mrs.,  52,  152. 

Crosse  and  Black  well,  409,  410. 

Cupid,  132,   163,  175,  281,  305, 

317,  344,  365,  369,  373—4—5, 

402,  408,  410,  412,  413. 
Cupid  and  Hebe,  193. 
Cupid  asleep,  132. 
Cupid  disarmed,  132. 
Cupid  drying  Psyche's  hair,  132, 

163,  279,  305. 
Cupid  finding  Aglaia  asleep,  132, 

i75»  38o»  394,  403,  408,  416. 
Cutchacutchoo,  137. 


D. 

D'Alberg,  236,  262. 

Dalmatia,  170,  400,  430. 

Darner,  Lady  Caroline,  140,  152, 

374-8. 
Darner,  Mrs.*,  151,  152,  374. 
Dance,  Nathaniel,  37,  64,  65,  104, 

117,  121,  150,  354,  356,404,418. 
Daniell,  432. 
D'Aumale,  435. 
Daniel  Volterra,  228,  233  -  6. 
Dark  Ages,  399,  413. 
Dauke,  131. 
Dead  Man's  Diary,  323. 
Decorations  (see  Appendix), 
De  Falbe,  421. 
Delafosse,  369. 
Delany,  Mrs-,  59,  139. 
Delatre,  385—6. 
Denmark,  147. 
Demarteau,  392. 

Derby,  Earl  of,  150,  369,  374,  416, 
430. 

Design,  167,  182,  443. 
Desalles  Regis,  102. 
Dessau,  305. 
Devonshire,  351,  361. 


Devonshire  Place  House,  424. 
Diana,  122,  419. 
Dickenson,  131,  379. 
Dido,  368,  379. 
Digby,  369. 
Dinorlas,  341. 
Diploma  Gallery,  167,  374. 
D'Israeli,  180. 

Dohme's    Kiinst  ii  Kiinstler,"  102. 
Domenichino,  no,  378. 
Donald,  Messrs.,  300. 
Donaldson,  Mr.,  369. 
Dowager  Princess  (of  Wales),  62, 
120. 

Dowdeswell,  Messrs.,  350,  361 — 3, 

432. 
Downe,  404. 
Doyle  (Henry),  142. 
D'Oyly  Carte,  403. 
Dreaming,  227 

Dresden,  Gallery  of,  153,  370. 
Drummond,  Mr.,  402. 
Drury  Lane,  65. 

Dublin,  136—142,  144,  391,  408, 
422. 

Dubourg,  102 — 3. 

Ducal  family  of  Devonshire,  25,  69. 
Duchess  of 

Ancaster,  62,  152. 

Brunswick,  60,  368,  372,  415. 

Courland,  278. 

Devonshire,  151,  372,  380—1. 
Dorset,  143,  378. 
Modena,  10. 
Manchester,  121,  122. 
Richmond  and  Gordon,  Jane 

Maxwell,  150,  378. 
Weimar,  234,  238—9,  240 — I. 

243—56,  273. 
Duff,  370. 

Dugnami,  Cardinal,  370. 
Duke  of 

Bridgewater,  368. 

Ccurland,  229,  368. 

Dorset,  143,  378. 

Gloucester,  120,  279,  449. 

Mecklenburg  Strelitz,  120. 

Miranda,  321,  375. 

Modena,  9. 


Index. 


453 


Duke  of 

Richmond  and  Gordon,  150, 

151,  378-9. 

Rutland,  379,  436. 

Weimar,  238,  251. 
Duke's  Gallery,  23,  24. 
Dunleary,  138. 
Durchlaucht,  240. 
Durham,  Bishop  of,  401. 
Durmer,  131. 

E. 

Eadem,  389. 
Eardley,  350,  364,  421. 
Eardley,  Sir  Culling,  421. 
*  Earwigs  The,  163 — 7,  176. 
Easter  Day,  252,  265. 
Eastwell  House,  406. 
Edgar  and  Elfrida,  133,  134,  375. 
Edward  IV.,  376. 
Egmont,  212,  214,  220. 
Egypt,  113. 
Egyptian,  418. 
Electra,  338. 
Elements,  167. 
Ely,  Countess,  140— i. 
Ely,  Earl  of,  138,  142,  370. 
Emma  Lyon,  276,  277. 
Emo,  140,  152,  420. 
Emondel,  231. 

Emperor  of  Austria,  Joseph  II., 

186,  201,  396. 
Emperor  of  Russia,  Paul  II.,  182, 

379. 

Eneas,  74,  375,  382. 

England,  38,  42,  63,  148,  171,  180, 

183—6,  193,  204,  301,  318,  320, 

321—2,  357—8. 
English,  35,  63,  130,  185,  193. 
English  Art,  344. 
Englishman,  The,  39. 
Epictetus,  280. 
Epitaph,  206. 

Espinasse,  General,  306,  387. 
Esterhazy,  371,  376. 
Etchings,  146—7—8,  388. 
Euphrosyne,  74,  282,  369,  380,410. 
Euripides,  281. 


Europe,  38,  264,  275,  283. 
Evans,  431. 

Exeter,  Marquis  of,  51,  108,  342, 
370. 

Exhibitions,  119,  126,  145, 148,  150, 

152,  162,  204,  295. 
Exhibitions  : 

Academy,  Royal,  439 — 442. 

Society  of  Arts,  50,  51,  126, 

193- 
Leeds,  443. 

National  portrait,  443,  444. 
F. 

Facius,  131. 
Fairholme,  360. 
Faith,  177,  297,  348,  354. 
Fantastico  Fortunato,  199. 
Farringdon,  47. 
Fashionable,  384. 
Fauconberg,  409. 
Feather  room,  405. 
Filling,  Adam's,  412. 
Firrao,  Cardinal,  371. 
Fisher,  Kitty,  48,  355. 
Fitzgerald,  432. 
Fitzherbert,  151 — 56. 

Alleyne,  371. 
Fitzpatrick,  J.  C.,  141. 
Florence,  22—4,  219,  221—2,  230, 

3C0,  311,  371. 
Florence,  Grand  Duke  of,  230. 
Folo,  131,  321. 

Forbes,  298,  307,  309,  321,  342,  371, 
374. 

Fordyce,  Henrietta,  173,  174. 
Fordyce,  James,  163,  188. 
Fordyce,  William,  187- 
Forster,  John,  50,  127,  141. 
Forster,  74. 
Fortitude,  354,  420. 
Fountaines,  424. 
Fra  Angelico,  209. 
France,  276,  320. 
Francis  the  First,  163. 
Franck,  33. 

Francavilla  Palace,  192. 
Frascati,  225,  246,  267. 


454 


Index. 


Frederick  Horn,  Count,  78 — 107. 
French,  211,  287,  308. 
Frenchman,  38. 
Fuger,  336. 

Funeral  honours,  326,  331. 
Fuseli,  65—67,  68,  133,  168. 


G. 

Gaetano,  377. 
Gainsborough,  133,  343. 
Galleries — 

Aschaffenberg,  363. 

Berlin,  153,  364. 

Dresden,  153,  370. 

Dublin  National,  142,  370. 

Edinburgh,  370. 

Florence,  371. 

•Frankfort,  371. 

London,  374,  375,  431 . 

Milan,  375. 

Munich,  376. 

Naples,  377. 

Philadelphia,  377. 

St.  Petersburg,  380. 

Vienna,  382. 
Ganymede,  329,  338,  425. 
Garde  a  vous,  132. 
Gardens,  Botanical,  237,  251. 
Garrick,  51,  61,  68,  133,  176,  371, 
402,  411,  418. 

Club,  151,  371. 

Junior,  325,  402. 
Gebhardt,  Professor,  54,  255,  305. 
Gellert,  326. 

General  Espinasse,  306,  387. 
General  Stanwick's  daughter,  129, 

387. 
Genii,  338. 
Genius,  167. 
Gering,  194,  198,  335. 
German,  33,  268. 
Germanicus,  280,  281. 
Germany,  96,  308. 
George  III.,  40,  116,  363. 
George    Keate,    113,    179,  292, 

403. 

Georgian,  406,  411,  412. 


Gilbert  (J.  T.),  137. 

Gilbey,  Walter,  419,  420. 

Giudetti,  224. 

Glasslough,  408. 

Globe,  celestial,  411. 

Gloucester,  383. 

Gloucester,  Duke  of,  120,  279. 

Gochausen,  Frauleinvon,  240,  241, 

244,  246. 
Godby,  70. 

Goldsmith,  112,  127,  141 — 2. 

Goethe,  26,  27,  197,  198—200,  207 
— 215  — 16— 17 — 18,  221,  231 — 
233. 237—239, 243—4-6—9,  250 
—3,  274,  303—5,  337,  359- 

Goethe  Society,  217. 

Goldie,  Charles,  243,  378,  396. 
Family,  396. 
Edward,  398,  433. 
Mrs.  George,  398. 

Goldsmid,  Misses,  426. 

Goschen,  258. 

Gotz  von  Berlingchen,  34. 

Gracchi,  Mother  of  the,  204 — 5. 

Graces,  The,  74,  1 67,  402. 

Grangerising,  154. 

Graves,  367. 

Graves,  Henry,  153,  362. 
Grecian,  403. 
Green,  131. 
Greeks,  211. 
Grellar,  Messrs.,  299. 
Grenville,  411,  417. 
Griffith,  281. 
Grimani,  372. 
Grisons,  45. 
Guercino,  370. 

Guido,  147,  I  149,  339,  37S— 9, 
415. 


H. 

Hagelin,  Consul,  255,  258. 
Hague,  The,  94. 
Hairplaiter,  The,  147,  390. 
Hall,  Mrs.,  74. 
Hall,  Great,  404. 
Hamburg,  94. 


Index. 


455 


Hamilton,  133,  152. 
Duke  of,  427. 

Lady,  276,  277,  351,  369,  372. 

Sir  William,  276,  372. 
Hammond,  364. 
Hampe,  327. 
Hanover,  115. 
Harcourt,  Lady,  296,  433. 
Harlowe,  Clarissa,  344. 
Hartley,  Mrs.,  151,  372. 
Hartmann,  Mrs.,  412, 
Hayman,  117,  1 19. 
Haymarket,  120. 
Hebe,  122,  276. 

Hector,  121,  124,   125,  166,  354, 

375. 
Hecuba,  145. 
Heidegger,  410. 
Heinrich  Meyer,  285,  302. 
Hendriks,  446. 
Herculaneum,  30,  41 1. 
Herder,  227,  231,  232,  234,  235, 

238,  244,  247,  250,  261,  262 — 

274,  337. 
Herkomer,  388. 
Hermitage  Palace,  229,  380. 
Hero,  282,  383. 
Hervey,  Lord,  372. 
Hoare,  Wavenden  Manor,  372. 
Sir  Francis,  372. 
Miss,  391. 
Hogarth,  114,  344,  351. 
Holstein,  Beck,  Duke  of,  206,  373. 
Holy  Child,  203. 
,  Holy  Families,  148,  374. 
Home,  Lord,  152,  444. 
Homer,  no,  147,  357. 
Hone,  Nathaniel,  104,   117,  118, 

155 — 160. 
Hope,  147,  164—5,  297,  354,  373, 

379. 

Hope  nursing  Love,  48,  394. 

Hopkinson,  433,  434. 

Horace,  279,  322,  379,  383. 

Horace  Mann,  403. 

Horn,  Frederick,  78,  100 — 107,  168. 

Horne,  Anne,  84. 

Richard,  84. 
Hornek,  127. 


Houses,  Guide  to,  399 — 431. 

Houston,  131. 

Huber  and  Rast,  103,  388. 

Hughes  (Swinnerton),  433. 

Hunt,  279. 

Hunter,  Dr.,  1 1 8. 


I. 

Illustrations,  373  (See  Appen- 
dix). 

Infanta,  152. 

Inigo  Jones,  414,  424. 

Inghilterra,  187. 

Intaglio,  226,  243. 

Ireland,  129,  136  —  145,  367,  421, 
430- 

Innocence  with  doves,  112,  354,  377. 

Italian,  33,  39,  268. 

Italian  Memoir,  169. 

Italian  School,  The  Old,  156. 

Italian  Stuccoists,  137. 

Italians,  202,  211. 

"  Italienische  Reise,"  197,  199,  200, 

207,  213,  215. 
Italy,  26,  173,  214,  276. 


J. 

Jenkins,  210,  287. 
Johnson,  Dr.,  416. 
Jersey,  Lord,  412,  420. 
Joachim,  203,  377. 
Johnston,  Captain,  152,  374. 
Josepoff,  Prince,  282,  374. 
Jotinial^  Arty  113,  340. 
Judgment  of  Paris,  176, 
Juno,  122,  369,  406. 
Justice  Blackburne,  142. 
Justice  Downe,  143,  392. 


K. 

Kauffmann,  Angelica — Birth,  2  ; 
early  education,  3 — 5;  Como, 
6—8;   Milo,  8— lO;   death  of 


456 


Index. 


mother,  1 1 ;  leaves  Milan,  1 1  ; 
Schwartzenberg,  12 — 17  ;  returns 
to  Italy,  18;  Montfort  Castle, 
18 — 22  ;  inclined  to  the  stage,  19, 
20  ;  first  love  affair,  21 ;  Florence, 
22,  23  J  Rome,  24,  25  ;  Winckel- 
mann,  25;  his  influence  upon  her 
future  career,  25,  26,  31 — 33; 
her  adoption  of  mythology,  33, 
34 ;  Venice,  35 ;  acquaintance 
with  Lady  Wentworth,  35,  36  ; 
goes  with  her  to  London,  36  ; 
London,  40 — 45  ;  acquaintance 
with  Sir  Joshua  Reynolds,  45— 
50;  her  portrait  by  him,  46  ;  ex- 
hibits portrait  of  Garrick,  51  ; 
exhibits  Arcadia,  52;  leaves  Lady 
Wentworth,  53;  Reynolds' friend- 
ship, 45 — 52;  letters  to  her  father, 
45>  46,  54 — 62  ;  takes  a  house,  59; 
love  affairs,  64 — 67  ;  friendship 
with  Mary  Moser,  67,  68  ;  arrival 
of  her  father  and  Rosa  Florini, 
70 ;  method  of  painting,  71 — 
77 ;  Horn,  78,  79  ;  marriage 
with,  84  J  separation,  95  ;  accusa- 
tions against  Sir  Joshua,  100 — 
106;  Bernsdorff's  account,  109, 
112;  elected  an  Academician, 
117;  her  portrait  in  Zoffany's 
picture,  1 19;  exhibits  at  the  Royal 
Academy,  120 ;  mentioned  in  the 
Advertiser^  126  ;  her  portrait  of 
Sir  Joshua,  126 ;  dinner  at  Sir 
George  Baker's,  127  ;  engravings 
and  etchings,  130,  131,  146,  147, 
148  ;  exhibits  at  Royal  Academy, 
120,  133;  satirized  by  Peter 
Pindar,  134  ;  visits  Ireland,  136 
— 145 ;  exhibits  at  Royal  Aca- 
demy, 145  ;  proposal  to  decorate 
St.  Paul's,  149 ;  her  Portraits, 
150 — 154;  exhibits  at  Royal 
Academy,  154  ;  Hone's  Conjurer, 
155 — 163  J  exhibits  at  Royal 
Academy,  162  ;  criticized  in  the 
Earwigs  163;  Vignettes,  164, 165; 
decorates  Somerset  House,  166; 
death  of  Horn,  168;  agrees  to 


marry  Antonio  Zucchi,  172;  ill- 
ness of  her  father,  171  ;  letter  to 
Mrs.  Fordyce,  1 73  ;  exhibits  at 
Royal  Academy,  176  ;  marriage 
with  Zucchi,  177,    178;  leaves 
England,    180 ;    Venice,    181  ; 
death  of  her  father,  183;  goes 
to  Naples,  184 ;   friendship  of 
Queen  Caroline,  184;  Rome,  187  ; 
letter  to  Dr.  William  Fordyce, 
187;  returns  to  Naples,  193; 
finally  settles  in  Rome,  194  ;  life 
in  Rome,  195  ;  Gering's  account, 
198;  Goethe's  view  Italienische 
Reise"),  199;  the  Emperor  of 
Austria   commissions  Angelica, 
186,  201  ;   pictures  ordered  by 
Catherine  of  Russia,  186,  202  ; 
commission  from  the  Pope,  204 ; 
exhibits  at  the  Royal  Academy, 
London,  1 786,  204  ;  criticism  of 
the  Mother  of  the  Gracchi,  205  ; 
friendship    with    Goethe,  207 ; 
party  given  by  him,  209 ;  Egmont, 
212 ;    Goethe's    picture,    214 ; 
Oppermann  and  Stolberg's  opi- 
nions as  to  the  friendship,  215 — 
16;  Zucchi  as  a  husband,  217; 
letters  from  Angelica  to  Goethe, 
219 — 231,233—238;  letters  from 
the   Duchess  of  Weimar,  249, 
252;  letter  from  Wieland,  255 — 
259  ;  friendship  with  Herder,  261; 
letters  from  Herder  to  his  wife, 
262 — 274 ;  condition  of  Europe, 
275  ;  arrival  of  Lady  Hamilton, 
276 ;  her  portrait  painted,  277  ; 
engraved    by    Morghen,    278 ; 
Steinberg's  criticism,  279;  ancient 
mythology  her  favourite  subject, 
280 — I ;     exhibits  Euphrosyne 
at  Royal  Academy,  282  ;  portrait 
of  Duke  of  Sussex,  282  ;  arrival 
of  her  cousin  Anton,  283 ;  letter 
from  Herder,  284  ;  Madame  Le 
Brun,  284 — 5  ;  state  of  Europe, 
286;  letters  to  Mr.  Kuliff,  287, 
291 — 294,  299—302;  Zucchi's  ill- 
health,  288  }  his  death,  289  ;  his 


Index. 


457 


will,  290;  letter  to  Mr.  Kuliff, 
291 ;  inscription  on  tomb,  294; 
obliged  to  work,  295;  her  piety, 
296;  her  large  picture  of  Religion, 
297  J  Mr.  Forbes,  298 ;  Rome 
a  republican  government,  299; 
letter  to  Mr.  Kuliff,  291 — 293; 
letter  from  Goethe,  303 — 305  ; 
state  of  Rome,  306  j  courtesy  of 
General  Espinasse,  306 ;  letter 
to  Mr.  Forbes,  307 — 309 ;  por- 
traits, 309  ;  present  to  Schwart- 
zenberg,  310 ;  illness,  310 ;  leaves 
Rome,  311  ;  visits  Florence,  31 1; 
Como,  311;  letter  to  a  friend, 
312;  visits  Venice,  313;  returns 
to  Rome,  314,  letter  to  her 
cousin,  314 — 15  ;  Canova  exe- 
cutes her  designs,  316  j  Napoleon 
invades  Italy,  317;  her  income 
in  danger,  317;  letter  to  Mr. 
Bowles,  318;  illness,  319;  visits 
Tivoli,  322  ;  letter  to  Mr.  Forbes, 
322 ;  renewed  illness,  323 ;  last 
sickness,  325 ;  death,  326  ;  fune- 
ral, 326  ;  will,  328  ;  letter  from 
Dr.  Borsi,  330 ;  letter /rom  An- 
ton Kauffmann,  332  ;  inscrip- 
tions, 328,  333,  334;  critical 
notices,  334;  catalogue  of  pic- 
tures, 363  ;  catalogue  of  etchings, 
388 ;  engravings  by  Bartolozzi, 
391  ;  illustrations  by  Bartolozzi, 
395  ;  drawings  in  British  Museum, 
398  ;  house  decorations,  399. 

Kauffmann,  Casimir,  314 — 316,  329. 

Kauffmann,  Anton  Johann,  284, 
301,  311,  325—6,  327,  332,  359. 

Kauffmann,  John  Joseph,  i,  4 — 6, 
8,  II,  19—22,  36,  40,  54,  59,  62, 
8o,-  87,  91,  105,  167,  171— 3, 
177,  181— 3,  184,  291,  352,  357, 
402. 

Kauffmann,  Peter,  328,  353. 

Kauffmanns,  The,  6,  7. 

Kayser,  Christoph,  222,  225,  226. 

Kidd,  M.D.,  414. 

Kimber,  374. 

King  Lear,  378,  407. 


King's  Library,  Berlin,  54,255,  316. 
Klopstock,  no,  152,  374. 
Knebel,  231. 

Kneller,  Sir  Godfrey,  114. 
Knight,  131,  374. 
Knight,  Charlotte,  341. 
Knowsley,  170,  369. 
Koramosky,  434. 
Krantz,  Kapellmeister,  209. 
Kruder,  377. 
Kuliff,  178,  292,  301. 
Kunst,  Literateur,  337,  339. 
Kunstbild,  382. 
Kunstler,  Kiinst,  102. 

L. 

Labyrinth,  306. 
Lady 

Sarah  Bunbury,  74. 

Sarah  Cavendish,  69. 

Caroline  Damer,  140,  152. 

Falmouth,  59. 

Freake,  416. 

Charlotte  Grenville,  Watkins- 

Wynn,  411,  417. 
Hamilton,  276—7,  351. 
Hervey,  229,  372. 
Molyneux,  121. 
Augusta  Murray,  282. 
Northwick,  193,  206,  351,  364 

—366,  379. 
of  quality,  296. 
Susan  Strangways,  88. 
Dowager  Williams-Wynn,  416, 

417. 

Wentworth,  25,  36,  41, 65,  180, 
205, 
Laguerre,  417, 
Lancret,  352. 
Lane 

Maiden,  50,  68. 

Market,  120. 

St.  Martin's,  68,  79,  114,  159. 

Wheel,  59. 
Laocoon,  125. 
La  Penserosa,  145. 
La  Touche,  138 — 9,  39 1. 
Lavater,  221. 


458 


Index. 


Lavis,  389. 

Leamington,  360. 

Leander,  282,  283. 

Lear,  King,  378,  405. 

Leblanc,  388,  390. 

Lebrun,  Madame,  277,  284,  285. 

Leeds,  Duke  of,  416. 

Leinster 

Duke  of,  138. 

House,  138. 
Leipzig,  258,  304—5- 
Lely,  Sir  Peter,  351. 
Leonardo  da  Vinci,  9,  163,  379, 
Le  Rossi,  327. 

Leslie,  Charles,  47,  71,  118,  133, 
154,  162—7. 

Sir  John,  175,  407 — 8. 

Lady  Constance,  407,  408. 
Lessing,  125. 
Le  Thiere,  327. 
Levant,  382. 
Lewis,  373. 
Library 

Ludovische,  28. 

Librarian,  28. 
-Life,  School,  9,  77,  75,  114. 
Lincoln,  427. 

Lincoln's  Inn  Fields,  427. 
Lindau,  54. 

Lips,  engraver,  220,  258. 
Liverpool,  421. 
Locatelli,  288,  290. 
Lohren,  2. 

London,  40,  41,  48,  54,  58,  65,  78, 
89,  96,  98,  145,  147,  150,  170, 
187—8,  287,  299,  314,  329,  409, 


Antrim,  138. 

Baltimore,  61. 

Berwick,  282,  364. 

Bute,  400,  421. 

Butler,  James,  145,  422. 

Cavendish,  Arthur,  69. 

Charlemont,  137,  368,  391,  408. 

Ely,  138,  370. 

Ferrard,  143,  375. 

Fauconberg,  411. 

Hervey,  372. 


Lord 

Howard  de  Walden,  151,  372. 
Jersey,  412,  420. 
Leven  and  Melville,  153,  374. 
Lieutenant,  136,  141. 
Longford,  145. 
Masserene  and  Ferrard,  375. 
Meath,  138,  140,  422. 
Milton,  378,  420. 
Montgomery,  309. 
Morley,  46,  123,  126,  134,  375 
—6. 

Mornington,  138. 
Northbrook,  138. 
Portarlington,  378,  420. 
Portman,  176,  378,  399,  404 
—6. 

Powerscourt,  138. 

Powis,  150,  378. 

Radnor,  417. 

Spencer,  108,  381,  420. 

Townshend,  140,  141,  384. 

Wynford,  411. 
Loretto,  House  of,  203,  374- 
Lothian 

Marquis  of,  1 50,  374. 

Marchioness  of,  150,  374. 
Louis  XVI.,  Decoration,  413. 
Love,  100,  265,  370,  383. 

Celestial,  149. 
Lucin,  Cleophas,  2,  10,  ii. 
Luiseum,  305,  363. 
Lycomedes,  King,  380. 
Lyon,  Emma,  276 — 7. 
Lyte,  374. 
Lytton,  Lord,  411. 


M. 

Macaulay,  280. 
Macaroni  Artist,  119. 
Macbeth,  65. 

Lady,  65. 
Macdonald,  Colonel,  309,  375. 
Maecenas,  322. 

Madonna,  147,  244,  378,  380—4. 
Magazine^  Europeart^  121. 


Index. 


459 


Magazine y  Gentleman* 177. 
Magistrate,  Mr.  Addington,  159. 
Mahaffy,  Dr.,  145,  422. 
Mahlerinn  seelen,  67. 
Malone,  47. 

Manchester,  Duchess  of,  74,  121, 
122. 

Manuel  des  Beaux  Arts,  182. 
Marceaud,  131,  415. 
Marengo  Rooms,  50. 
Marinari,  138. 
Marlborough  House,  408. 
Marlfield,  143. 
Marquis 

Ely,  138,  141. 

Exeter,  51,  108,  342,  353,  370 
—  I. 

Hertford,  410. 

Queensberry,  410. 
Marriage  settlement,  177. 
Marshall,  434. 
Martineau,  434. 
Martineghi,  375. 
Marylebone,  424. 
Massacarrara,  375. 
Matilda  Caroline,  40. 
Matthews,  180. 
Maughan,  Rev.  G  ,  376. 
Maupasson,  Thomas,  400. 
Maxwell,  434. 
Medley,  375. 
Mendip,  375. 
Menelaus,  74,  347. 
Mengs,  Raphael,  31,  67,  153,  303, 

336,  370. 
Mentmore,  152. 
Mentor,  278. 

Mercury,  228,  236,  265,  285. 
Messell,  434. 
Messiah,  no,  128. 
Messilina,  385. 
Metastasio,  403. 
Meyer,  285,  302,  376. 
Meyers,  5. 

Mezzotinto,  134,  388. 
Milan,  8— ii,  17,  63,  223—5,  311, 
375- 

Milan,  Bishop  of,  lo. 
Milanese,  10,  216. 


Miranda,  Duke  and  Duchess  of, 

321,  375. 
Miss  Angel,  43,  98,  176,  309. 
Mistress  of  Robes,  205. 
Model,  Naked,  77,  118. 
Modena,  Duke  of,  9. 

Duchess  of,  10. 
Modesty,  204. 

Monastery  of  San  Pietro,  147. 
Monbegno,  3,  22,  36. 
Monroe,  Dolly,  141,  142,  370. 
Montagu,  427—8. 
Montagu,  Mrs.,  41,  181,  404—5. 
Montagu  House,  405. 
Monte  dell  Trinita,  190. 
Montfort,  Count,  18,  21,  375. 

Castle,  19,  21,  365,  375. 
Montgomery,  375. 
Montgomery,  Lord,  309. 
Monuments  of  Rome,  198. 
Moral  Emblems,  76. 
Morales,  Cristoforo,  224. 
More,  Sir  Thomas,  423. 
Morghen,  131,  198,  206,  278,  372— 

3—4,  385- 
Morland,  354. 

Morley,  46,  123,  126,  134)  375—6. 

Morris,  Miss,  48,  122. 

Morrison,  Alfred,  173. 

Morsburg,  18. 

Mosaic,  374. 

Moscow,  202. 

Moser 

George,  67,  114,  116,  117,  118. 

Mary,  67,  68,  118,  133,  352. 
Mosers,  The,  67,  68. 
Mother,  afflicted,  70. 

of  the  Arts,  323. 

of  the  Gracchi,  204.— 5— 6,  377. 
Munster,  Bishop  of,  296. 
Miinter,  Dr.,  285. 
Muntzer,  Mr.,  400,  418. 
Muse,  The,  153,  176,233,  254,395. 
Muses,  The,  281. 
Museum,  233. 

Museum,  British,  70,  77,  128,  154, 

169,  276,  387,  388. 
Museum,  Soane,  396,  429. 
Music,  371,  381,  397. 


460 


Index, 


N. 

Nagler,  102,  335 — 6. 

Naked,  Model,  77,  118. 

Naples,  35,  184— 5— 9, 190-1, 192, 

193,  194,  233,  244,  247,  249,263, 

377. 

Naples,    Queen    of,    184 — 5 — 9, 

192—4,  483. 
Napoleon,  317, 

Nathaniel  Dance,  37,  64,  65,  104, 

117,  121,  150,  418. 
Nathaniel  Hone,  104,  117,  118,  155 

— 161. 
National  Academy,  114. 
National  Biography,  Dictionary  of, 

341. 

National  Gallery,  142,  309,  370 — 
4. 

National  Portrait.  Gallery,  374. 
Nativity,  The,  150. 
Nelly  O'Brien,  355. 
Nelson's  Daughter,  424. 
Netherlands,  212. 
Neville,  391. 

Nevroni,  Cardinal,  311,  368. 

Nev7  Bond  Street,  361,  365. 

Newcastle,  427. 

New  London,  and  Old,  402. 

Newnes,  435. 

Nicotris,  113,  199. 

Norfolk  Street,  367. 

Nollekens,  64,  68,  77,  112,  117, 

160,  377. 
Nord,  Count  du,  182,  379. 

Countess  du,  182,  379. 
Norfolk  House,  416. 
Northentz  Library,  28. 
Northern  Italy,  18. 
Northwick,  193,  351,  435. 
Northwick,  Lady,  364,  365,  379, 

392. 
Norwich,  298. 
Nostall  Priory,  172,  422. 
Nouvelle  Biographies  102,  340. 
Novosiels  Ki,  370. 
Nymph  Egeria,  281,  425. 
Nymphs,    369,   402,    408,  413, 

415. 


o. 

Oberon,  258. 

Olympus,  149,  406. 

Omnia  Vanitas,  164,  310,  373. 

Oppermann,  34,  72,  87,  113,  215, 

216,  312. 
Ord  and  Son,  300. 
Orestes,  338. 
Organ,  417. 
Orpheus,  21,  368. 
Ossian,  307,  381. 
Osterly  Park;  40 1,  420. 
Ovid,  282,  373. 
Oxford  Street,  407. 


P. 

Padua,  313. 

Painting,  167,  371,  381,  397. 

Pall  Mall,  115,  120,  153,  166,  361, 

409. 
Pallas,  201,  382. 
Pan,  417. 
Pannini,  377. 

Pantheon,  73,  152,  328,  332—3. 
Paphian  Boy,  The,  408. 
Pappasava,  Count,  321,  377. 
Papworth,  429. 
Paris,  282. 

Paris  de  Bordone,  197. 
Paris,  Judgment  of,  176,  394. 
Parker,  46,  123,  126,  342. 
Parliament  House,  63. 
Parma,  187. 
Parsons,  Miss,  48. 
Pasquin,  47,  75,  132,  282,  341. 
Patronage,  36. 
Payne,  Knight,  77. 
Pazetti,  327, 
Peintre,  54. 
Penello  Volante,  40. 
Penelope,  121,  369,  374-5,  381, 
385. 

Penserosa,  La,  145. 
Pepper,  377. 
Percy,  Major,  417. 
Pergolesi,  iii. 


Index. 


Periclitan,  31,  34. 
Pericolo,  327. 
Philadelphia,  377. 
Phillips,  420. 

Phillips  and  Neale,  Messrs.,  361, 

365,  372. 
Phryne,  281. 

Peter,  Duke  of  Courland,  229. 
Peter  Kauffmann,  3^8. 
Peter  Kuliff,  178. 
Peter  Pindar,  117,  134,  409. 
Peter,  Saint,  147,  378. 
Pezzoli,  Count,  321,  377. 
Piazetti,  15,  380. 
Piccadilly,  83. 

Pictorial  Conjuror,  155 — 161. 

Pietro,  Zucchi,  191. 

Pinner,  410. 

Piranesi,  170. 

Pisa,  272. 

Place,  Ely,  138. 

Pliny,  204,  206. 

Poison-sucking  from    the  wound, 

162,  169. 
Poland,  King  of,  202,  377. 
Polly  Peaclium,  66. 
Pompeii,  30. 
Pompeiian,  41 1. 
Pompilius,  Numa,  281,  425. 
Poniatowski,  Prince,  202,  204,  377 

—8. 

Pope  Pius  VI.,  203—4,  238,  377. 

Popery,  150. 

Pope's  Iliads  125. 

Porporati,  131. 

Porta  del  Popolo,  228. 

Portraits,  129,    130,   141 — 3,  150 

—  154,  296,  385. 
Post  Office,  178—9. 
Powell,  Caleb,  141. 
Powerscourt,  138. 
Powerscourt  House,  138. 
Powis,  Lord,  150,  378. 
Pozzobonelli,  10,  17. 
Practical  amusements,  165. 
Pratextatus,  Papirius,  280. 
Praxiteles,  280,  281. 
President  of  Academy,  156,  166. 
Prince  Anhalt-Dessau,  363. 


Princess  Anhalt-Dessau,  206,  279. 

Princess  Dowager,  60,  62,  120. 

Pritchard,  Mrs.,  65. 

Procris,  Death  of,  163. 

Property,  427. 

Professor  Sellius,  28 — 30. 

Prophet,  Nathan  the,  281,  384. 

Proserpina,  279. 

Psyche,  279,  305,  317. 

Purity,  77. 

Putney  Heath,  173. 

Pyke,  424—5- 

Pylades,  338. 

Pyrrhus,  281,  371. 


Q. 

QUARITCH,  397. 
Queen  Anne  Plate,  417. 
Queen's  Bench,  Ireland,  143. 
Queen  Charlotte,  40,  61,  68,  71, 

98,  363. 
Queen's  County,  140. 
Queen's  Mistress  of  the  Robes,  205. 
Queen  of  Naples,  184 — 5 — 9,  192 — 

3—4. 

R. 

Rafael  Mengs,  31,  67,  153,  303, 

336. 
Raphael,  147. 

Raphael  Urbino,  67,  333,  338,  378. 
Rast  and  Huber,  103,  388. 
Rathfarnham    Castle,    140,  142, 
422. 

Read  and  Perry,  364,  403. 
Rebecca,  Lady  Rushout,  366,  379, 
435. 

Records  of  my  life,  104. 
Redeemer,  The,  281. 
Redford's  Art  Sales,  120. 
Redgrave,  Mr.,  354. 
Redshaw,  378. 
Regent's  Park,  419, 
Regent's  Street,  205. 
Regis  Desalles,  102. 
Regulus,  121. 


462 


Index, 


Religion,  163,  297—8,  307—8—9, 

348,  371,  374. 
Republican,  299. 

Revue  Contemporaim^  295. 

Reynolds,  Sir  Joshua,  44 — 50,  61. 
100 — 106,  112,  114 — 117,  118, 
119,  123,  126,  127,  133,  135, 
146,  149,  150,  152,  155  —  6—7, 
166—7—8—9,  173,  321,  323,  343, 

349,  351—2,  357,  360,  375,  404, 
411. 

Rezzenico,  Cardinal,  229,  378. 
Rhodope,  113. 

Richmond,  Duke  of,  150 — I,  378 
— 9- 

Rieffenstein,  Rath,  198,  210,  212, 
219,  225,  235,  240,  242,  244,  250, 
265. 

Ritchie,  290. 

Rinaldo  d'Este,  9. 

Rinaldo,  145,  154. 

Robert,  370. 

Robinson,  i,  145,  379. 

Rome,  24,  25,  29,  30,  37,  121,  184, 
187 — 189,  190 — 2,  207,  209,  210, 
214,  215,  218,  227,  231,  237,  238, 
239,  240,241,244,  246,250,  251, 
252,  253,  262,  263,  264,  265,  267, 
268,  276,  282 — 4,  287,  291,  296, 
298,  299,  300,  309,  311,  314,  321, 
322,  326,  327,  353,  409. 

Romney,  166,  404. 

Rosa  Florini  Bonomi,  55,  70,  177, 
183,  328,  330,  332,  354. 

Rosebery,  Lord,  152,  379. 

Rose  Lenoir,  131,  386,  415. 

Rosenkrantz,  94. 

Roseneath  House,  406. 

Rossi,  7,  37,  46,  49,  98.  105,  107, 
109,  113,  131,  170,  186,  199,  204, 
296—299,  320,  327,  359. 

Roth,  Cardinal,  17,  379. 

Rowena,  128,  376. 

Roxborough,  368. 

Royal  Academy,  114,  117- — 120, 
154,  162—6,  177,  204,  281 — 2, 
295,  402.  ^ 

Royal  Commission,  70. 

Royal  Highness,  of  Gloucester,  120.  I 


Rushout,  177,  206,  364—5,  369, 

374,  425.  435- 
Russia,  229,  379. 
Rust,  436. 
Rutland,  436. 

Ryland,  Wynn,  engraver,  131,  134, 
146,  164,  177,373,375-6—8-9, 
385-6  -7,  392—3. 


S. 

Saal,  228. 

Sacraments,  Last,  325,  330. 
Sales,  Art,  120. 
Salmo,  282. 

Saltram,  46,  123,  126,  134,  342. 
Samaria,  Woman  of,  276. 
Samma,  374. 
Sampiere,  147. 
Samuel,  281. 

San  Andrea,  294,  326,  331,  332. 

Sandeman,  436. 

Sappho,  147,  154,  354— 7>  412. 

Savage,  416. 

Savage  Club,  402,  403. 

Saviour,  The,  196. 

Sayer  and  Bennett,  380. 

Scantlebury,  380. 

Scheidewasser,  147,  148. 

Schlessheim,  380. 

School,  75,  77,  114. 

Schopfer,  381. 

Schoppe,  A.,  69,  102. 

Schlitz,  Johann,  220,  370. 

Schwartzenberg,  i,  12,  14,  17,  148, 

181,  284,  310,  314,  329,  380. 
Schwarz  Kunst,  131. 
Scorodomoff,  131,  373,  380,  387. 
Scott,  380. 

Seckendorf,  Frau  von,  231,  241, 262. 
Seguier,  343. 
Sellius  Godfried,  28 — 30. 
Senate,  280. 

Senior  United  Service  Club,  220. 
Servain  d'Agincourt,  198,  324. 
Shakespeare,  167,  236,  370,  407. 
Shakespearian  Gallery,   166,  229, 
242,  367. 


Shepherd,  381. 
Shepherdesses,  424. 
Sheraton,  420. 
Sheridan,  281,  351. 
Shield,  Cele'stial,  281. 
Sibyls,  73,  253,  354,  370,  378. 
Simplon,  233. 
Sion  House,  430. 
Sketchley,  Mr.  R.  F.,  399. 
Smart,  358. 
Smirke,  425. 

Smith,  1,64,  65,77,  9^}  105'  112, 

131,  365,  424. 
Society  of  Incorporated  Artists,  50, 
115,  126,  193,  402,  404. 
Respectable,  247. 
Naval  Architects,  402. 
Solms,  Countess  of,  307,  381. 
Somerset  House,  166 — 7,  374,  429. 
.  Sommeriva,  381. 
Sophocles,  382. 

Sopra  Portas,  369,  378,  407,  416. 

Sotheby,  299. 

Sotheran,  Mr.,  391. 

South  Kensington   Museum,  132, 

374»  399- 
Spanish  Place,  84,  406. 
Sparta,  373. 

Spencer,  25,  45,  61,  108,  151,  152, 

381. 
Spilsbury,  131. 

Spina,  Abbata,  222,  225,  253. 
Spirit  of  God,  66. 
Spiritual  subjects,  70* 
Spring  Gardens,  404. 
Squares 

Berkeley,  41,  400,  409,  412. 

Golden,  59,  60,  84,  85,  171, 
173,  411,424. 

Grosvenor,  416. 

Hanover,  414. 

Merrion,  138,  140. 

Portman,  176,  404,  426,  427. 

Rutland,  145. 

Soho,  59,  178,  409,  410. 

St.  James's,  411,  416. 
Squibs,  401. 
Stabat  Mater,  in. 
Stadtdirektor,  28. 


?x.  463 

Stafford,  437. 
Stake,  Lady's  last,  112. 
Stanford,  431, 
Stanhope,  50. 

Stanwick,  General,  129,  387. 
St.  Catherine,  370. 
Stein,  Frau  von,  267. 
Sternberg,  35,  38,  49,  63,  loi,  129, 

132,  134,  153,  205,    206,  213, 

279,  320,  329,  336. 
Stephens  Green,  138,  139. 
St.  Joseph,  381. 
St.  Oswald,  172,  422. 
St.  Paul,  378. 
St.  Peter,  390. 
St.  Peter's,  406. 
St.  Petersburg,  229,  380. 
Stokes,  152. 
Stolberg,  216,  286. 
Story  of  Venus,  282. 
!  Strand,  166,  400. 
Stratford  House,  3^6. 
Stratford,  O'Neal,  308. 
Stratford  Place,  175,407,  306. 
Strawberry  Hill,  Catalogue,  123, 

129,  375)  405- 
Streets, 

Berkeley,  411. 
Charles,  41,  391.  • 
j         Dawson,  138. 
Dean,  59. 
Dover,  400,  418. 
Harcourt,  138 

John,  179,  288,  290,  401—3— 
4- 

Moles  worth,  130. 

St.  James's,  391. 

Suffolk,  52,  58,  152,  193,  437. 
St.  Cecilia,  in,  156,  378. 
St.  James's  Church,  83,  84. 

Court,  137. 
St.  John,  375. 
St.  Paul's,  149,  402. 
Strafford,  437. 
Streatham,  405. 
Strickland,  381. 
Studerat,  94. 
Sturz,  109,  128,  147. 
Styx,  380. 


464 


Index. 


Suabian,  13. 
Subject,  satirical,  161. 
Subtle,  133. 

Suffer  little  children,  266,  298. 
Sundays,  208,  219,  226,  235,  242. 
Sussex,  Duke  of,  282,  380. 
Sutherland,  437. 
Swede,  102. 
Sweden,  81. 
Swedenborg,  409. 
Swedish,  78,  81. 
Swiss,  33,  45. 

Sylvia's  stag,  143,  162,  370,  379, 
391. 


T. 

Table  (Emo),  143. 
Taccone,  Marquis,  381. 
Tancred,  133. 

Tasso,  224,  237^  242,  245,  247, 
249. 

Taylor,  76,  104,  122,  126,  131,  164, 

381,  420. 
Tedeschi,  211. 

Telemachus,  74,  133,  154,  155,278, 

347—8,  369,  372-3. 
Temple  of  Virtue,  163. 
Terrick,  Bishop  of  London,  144, 

150. 

Thackeray,  109. 

Thackeray,  Miss,  84,  98,  108,  175. 

Thackeray,  William,  150. 

Theatre,  Covent  Garden,  151, 

Theodor,  Duke,  187. 

Theory,  166. 

Therese  Bandettini,  199. 

Thersites,  236. 

Theseus,  268,  282,  306,  370,  381. 

Thomas,  401. 

Thomson's  Seasons,  373. 

Thornhill,  114. 

Thornton,  381. 

Thorwaldsen,  426. 

Thrale,  Mrs.,  280. 

Timon,  65. 

Tipperary,  143. 

Tischbein,  228. 


Tisdall,  139. 

Titians,  197,  351,  378,423. 

Tivoli,  247,  267,  270 — 2,  322. 

Tolomeo,  243. 

Tom  Jones,  140. 

Tomkins,  131,  381,  386. 

Toulon,  317. 

Tour,  Grand,  36. 

Townshend,  Lord,  140,  141,  384. 

Townshend,  Charles,  140. 

Townshend,  Lady  Audrey,  140. 

Tradition,  120. 

Trafalgar  Square,  166, 

Travellers,  276. 

Treishoff,  Amalie,  231. 

Triad,  188. 

Tripartite,  177. 

Trippel,  235. 

Truth,  76,  77. 

Tuer,  Mr.  388,  392—3,  395. 

Tussaud,  Madam,  309. 

Tyrol,  181. 


U. 

Uggieri,  326. 

Ulysses,   74,  121,  147,  202,  236, 

369.  370-1—5—9. 
Una,  354,  364,  398,  431. 
Universelle  Biographic^  72,  75,  76, 

102. 

Upper  Italy,  63. 
Upper  Ossory,  428. 
Urania,*  147,  354,410. 


V. 


Vandyke,  133. 

Venice,  181— 2— 3,  251,  293,  313. 
Venus,  74,  121,  131,  228,  317,  369, 

375>  382-5—6,394,  415.425— 

9- 

Venus  attired  by  the  Graces,  63, 

176,  374,  402. 
Venus,  Story  of,  282. 
Vereker,  382. 


Index. 


465 


Vernon,  382. 
Vernon  Harcourt  415. 
Vernon,  Mrs,,  59. 
Verona,  Two  Gentlemen  of,  166. 
Verpylle,  138. 
Verrio,  Antonio,  370. 
Vesey,  Mrs.,  41. 
Vestals,  73>  282,  354,  370. 
Vicar  of  Wakefield,  112. 
Vicat  Cole,  R.A.,  400. 
Vice-kings,  137. 
Viceroy,  136,  140. 
Victory,  317. 
Vienna,  201,  281,  382. 
Vignette,  233,  373. 
Villa  Adrienna,  322. 
Villa  d'Este,  247,  249. 
Virgil,  202,  204,  229,  282,  377,  379, 
383. 

Volpato  (engraver),  198,  202,  210, 
382. 

Volterra,  Daniel  di,  288,  236. 
Von,  I. 

Voralberg,  181. 
Vortigern,  128,  376. 
Vulpina,  215. 

W. 

Waagen,  309,  339,  353,  370,  421. 

Wadmore,  397. 

Wailly,  Leon  de,  102. 

Walch,  Herr,  15,  382. 

Waldeck,  Prince  of,  23$,  282,  382. 

Waldegrave,  383. 

Walden,  Howard  de,  151,  354. 

Walder,  12,  72,  215. 

Waldy,  Rev.  E.,  152. 

Walker,  383. 

W^alpole,  Horace,   71,  103,  123. 

129,  134,  140,  154,245,  405,  407, 

411,  428. 
Walsingham,  Lord,  400, 
Wanstead,  193,  204,  318,  330,  342, 

361. 

Warwick  Street,  187. 
Watkins  Wynne,  Sir,  411,  417. 

Dowager  Lady  Williams,  399, 
416,417. 


Waterloo,  417. 
Watson,  133. 
Watteau,  352. 

Wedgwood,  139,  408,  413,  427. 
Weigel  und  Andresen,  304. 
Weimar,  209,  221,  226,  231,  234, 
238—240,   241,  244,  250,  253, 

254,  303- 
W  eisseley,  102,  214. 
Wells,  38. 

Wentworth,  Lady,  25,  35,  36,  41, 

53,  65,  180,  205. 
West,  117,  119,  121,  134,  135,  166 

— 7»  383*  404. 
White,  374. 

White  House,  Soho  Square,  410. 
Wicklow,  391. 

Wieland,  231,  238,  254-259. 
Wilson,  117. 
Wilton,  117. 

Winckelmann,  25 — 34,    146,  336, 

356,  371,  384. 
W^inn,  Sir  Rowland,  172,  423. 
Wisdom,  116,  127. 
Wolfe,  Death  of,  134. 
Wolfenbiittel,  238. 
Woman   under    a  tree  (Aglaia), 

132.  175- 
Woodhouse,  383. 
Wrenk,  131. 
Wright,  402,  445. 
Wurzbach,  i(X5. 


X. 

Xenocrates,  281. 
Xenophon,  280. 


Y. 

Yeo,  118. 

York,  Duke  of,  205. 


Zadig,  368. 
Zamoiski,  383. 

II  h 


» 


466  Index. 


Zelado,  Cardinal,  202,  384. 
Zoffany,  51,  112,  117,   119,  133, 

146. 
Zuccarelli,  118. 

Zucchi  Antonio,  2,  6,  109,  169, 
170-2—3,  177,  180,  183— 
4,  188,  189,  191,  195— 6j  215, 
224,  226,  228,  236,  239,  240 
—1—2,  249,  253,  262—3,  283 
—5,  287—291,  292—295,  304, 


353,  357—9,  3^8,  384^  401—4, 

419,  429. 
Zucchi  Household,  199,  283. 
Zucchi,  Joseph,  69,  131,  147,  252, 

290,  293,  329,  384. 
Zucchi's  Memoirs,   188,   193 — 4, 

287,  352,  384- 
Zucchi,  Pietro,  290, 
Zucchis,  The,  169,  352,  384. 
Zurich,  384. 


OPINIONS  OF  THE  PRESS. 


Angelica's  is  a  singularly  difficult  life  to  write,  and  her  latest  biographer  has 
evidently  spared  no  pains  to  make  this  volume  complete.  It  is  excellently 
illustrated  and  is  unquestionably  a  book  of  great  interest. — St.  James's  Gazette. 

We  think  that  whoever  takes  to  heart  the  story  of  Angelica  Kauffmann*s 
career,  must  find  his  respect  for  women  and  art  equally  increased,  and  his 
affection,  if  not  his  approval,  gained  for  much  of  her  work.  —  The  Spectator. 

Her  friendships  with  Sir  Joshua  Reynolds  and  Goethe  are  of  course  dwelt 
upon  at  length,  and  if  Miss  Gerard  brushes  away  some  of  the  romance  which 
has  attached  to  the  former  of  these,  she  is  only  attesting  her  adherence  to  the 
truth. — Art  Journal^  January,  1893. 

Miss  Gerard's  work  has  real  value.  She  has  an  appendix  of  sixty  or  seventy 
pages,  including  careful  lists  of  Angelica's  works,  their  engravers,  and  their 
present  owners,  a  separate  list  of  those  engraved  by  Bartolozzi,  no  less  than 
eighty-eight  in  number,  a  guide  to  the  hoases  decorated  by  Angelica,  &c.  This 
will  be  found  the  most  satisfactory  part  of  the  book.  Miss  Gerard  has  done  her 
work  well,  and  all  lovers  of  Mr.  Dobson's  favourite  world,  "  the  times  of  Paint 
and  Patch,"  will  be  grateful  to  \iqv,  — Daily  Chronicle,  December. 

It  is  written  with  kindliness,  knowledge,  and  good  taste,  and  if  it  contributes 
little  to  our  knowledge  of  Angelica  Kauffmann  as  an  artist,  it  helps  us  materially 
to  understand  her  versatile  charms  as  a  woman. — Standard^  December  nth. 

We  have  to  thank  the  authoress  for  giving  us  a  study  of  an  interesting  per- 
sonality belonging  to  an  age  which  is  sufficiently  close  to  us  to  have  charms 
denied  to  a  more  remote  period  of  the  past. — Sunday  Times. 

The  admirable  lists  at  the  end  of  Miss  Gerard's  volume,  to  which  reference 
has  been  made,  bear  evidence  of  Angelica's  astonishing  fecundity.  The  list  of 
houses  decorated  by  her  include,  among  numerous  others,  a  ceiling  of  great 
beauty  in  Mr.  D'Oyly  Carte's  rooms  at  the  Adelphi ;  others  very  fine  at  Sir 
John  Leslie's  house,  Stratford  Place  (in  Oxford  Street)  ;  Lord  Wynford's  house, 
12,  Grosvenor  Square;  Mrs.  Hartmann's  house,  39, Berkeley  Square;  the 
Dowager  Lady  Williams  Wynn's  house,  20,  St.  James's  Square  ;  Mr.  Walter 
Gilbey's  house,  Cambridge  House,  Regent's  Park  ;  and  the  Arts  Club,  Hanover 
Square.  —Daily  Chronicle. 

We  recommend  the  reader  to  find  out  the  book  for  himself,  and  thus  gain  an 
insight  into  one  of  the  most  curiously  interesting  personalities  in  the  history  of 
modern  art.  Messrs.  Ward  and  Downey  have  published  the  book  in  excellent 
style.  One  decided  merit  of  Miss  Gerard's  book  is  the  addition  of  very  full 
appendices  giving  fairly  complete  lists  of  the  artist's  works,  the  date  of  engravings 
and  etchings  therefrom,  and  in  a  good  many  cases  the  present  owner  of  the 
original.  These  lists  are  of  exceptional  value  to  the  connoisseur  or  collector. 
Another  interesting  appendix  is  that  devoted  to  the  "  Houses  decorated  by 
Angelica  Kauff'mann  in  the  decade  1771-1781." — Freeman' s  Journal^  Dublin. 

Miss  Gerard  has  done  her  work  carefully  and  eflectively,  and  succeeded  in 
giving  us  a  very  living  picture  of  the  gifted  Tyrolese  girl  who  was  not  only  in 
the  front  rank  of  the  painters  of  her  time  long  before  she  was  thirty,  but  besides 
being  a  favourite  of  fashion  and  the  protegee  of  half  the  courts  of  Europe  had 
the  singular  fortune  to  win  the  affectionate  esteem,  if  not  the  absolute  love,  of 
such  men  as  Reynolds,  Goethe,  Herder,  and  Wieland. —  Tablet^ 


2 


Now  comes  Miss  Frances  Gerard  with  her  thoroughly  sympathetic  and 
studious  biography  (Ward  and  Downey),  in  which  for  the  first  time  we  have  the 
career  of  the  unlucky  artist  set  out  at  full  length,  with  a  good  deal,  too,  of  inte- 
resting information  on  art  matters. — Globe^  November  7th,  1892. 

No  one  can  deny  that  she  has  told  the  sad  story  of  the  life  of  Angelica 
Kauffmann  in  a  most  interesting  and  charming  manner.  Her  subject  evidently 
•possessed  many  fascinations  for  her,  and  she  has  succeeded  in  making  it  fasci- 
nating to  others. — Lady's  Pictorial. 

Miss  Gerard  has  accumulated  many  interesting  facts  about  her  heroine. — The 
Speaker, 

The  authoress  has  done  her  work  with  the  greatest  thoroughness  and  im- 
partiality, besides  writing  a  very  graceful  and  fascinating  monograph.  The 
subject  itself  is  one  of  the  most  romantic  interest. —  Woman. 

Hitherto  her  biography  has  never  been  published  in  the  English  language, 
and  Miss  Gerard's  book  has  the  advantage  of  novelty, — Monting  Postt  No- 
vember 23rd. 

The  plan  of  Miss  Gerard's  book  is  methodical,  and  the  list  of  Angelica's  works 
at  the  end  makes  a  very  satisfactory  termination  to  an  admirable  study. — 
Gentlewoman^  October. 

From  this  summary  it  will  be  seen  that  the  book  is  carefully  written,  and  that 
no  pains  have  been  spared  to  procure  all  the  information  possible  about  the 
brilliant  but  unfortunate  artist  whose  life  reads  like  a  romance. — Daily  Express^ 
Dublin. 

Miss  Frances  A.  Gerard,  the  compiler  of  this  biography,  had  ample  materials 
from  foreign  sources,  and  these  she  has  utilized  to  advantage,  with  the  result 
that  we  have  a  full  account  of  the  career  of  a  somewhat  remarkable  woman. — 
Manchester  Examiner. 

Among  the  new  books  of  the  season  is  Miss  Frances  A.  Gerard's  biography  of 
Angelica  Kauffmann.  It  is  pleasantly  written,  and  the  subject  being  an  inte- 
resting one,  Miss  Gerard's  work  is  likely  to  have  many  xq^l^^x^.'- School- 
mistress. 

**  Miss  Gerard  has  studied  her  materials,  which  are  scanty  in  English  but 
copious  in  other  languages,  with  great  industry,  and  in  particular,  has  recovered 
many  letters  written  by  Angelica  Kauffman,  which  lend  an  intrinsic  and  excep- 
tional interest  to  her  volume.*' — The  Times, 


^^^^ 


f  '.,v- ■.rr/«'-?^■4'••-■^- 


